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Artrip, Ryan Edward. "Virulence and Digital Culture." Diss., Virginia Tech, 2016. http://hdl.handle.net/10919/80512.
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This dissertation is a theoretical study of the role of virality/virulence as a predominant technological term in the reproduction of social and cultural information in the digital age. I argue that viral media are not new phenomena, only the name is new. Media have always behaved as viruses; it is only when they become hyper-intensified in digital technology that their virulent function surfaces in language and culture. The project examines processes of self-replication and evolution undergone by various new media phenomena as they relate back to the global profusion of social networks, data centers, and cybernetic practices. Drawing from several contributions in media theory, political and social theory, and critical media studies, I argue that digital media have a hyper-intensifying effect on whatever objects, subjects, or realities they mediate or represent; thus networked societies are virulently swarmed by their own signs and images in information. Through an examination of three primary categories of digital proliferation—language, visuality, and sexuality—I situate digital culture in a framework of virulence, arguing that the digital may be best understood as an effect of cultural hyper-saturation and implosion. I argue that virulent media networking processes come to constitute a powerful cybernetic system, which renders the human subject a mere function in its global operations. Lastly, I begin to develop a political critique of cybernetics, claiming that the proliferation of information, digital media, and communicative/representational technologies in the contemporary world emerges through an intensified ideological, economic, social, cultural, and metaphysical framework of productivism. This intensification engenders a system, or series of communicational circuits, whereby all techno-subjective activities are strategically stimulated, networked, recorded, and algorithmically appropriated to strengthen and reproduce 1) a global productivist system of cybernetics; 2) The material and ideological conditions for such a system to exist and thrive; 3) limitless virtual and digital production.<br>Ph. D.
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Allen-Robertson, James. "Digital culture industry: a history of digital distribution." Thesis, University of York, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546806.
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Winterwood, Fawn Christine Phelps. "Literacy, identity, and digital youth culture understanding the cultural ecology of informal digital literacy practices /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1212410327.
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Watkins, Sean Edward. "Media Literacy and the Digital Age." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1242223666.
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Hartl, Eva [Verfasser]. "Organizational Culture in Digital Transformation : On the Objectives, Characteristics, and Implications of Digital Culture Change / Eva Hartl." Berlin : epubli, 2020. http://d-nb.info/1216752737/34.
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Nordström, Niklas. "Organizational culture in Slack : The relationship between organizational culture and digital collaboration tools." Thesis, Karlstads universitet, Avdelningen för medie- och kommunikationsvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-72399.
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The purpose of this study was toexplore organizational culture in a digital context, so that a greater understanding of the relations between the two subjects could be developed. The interest for the subject came from reflections and observations obtained during a prior internship at a small organization using the digital collaboration platform Slack in their daily work. To answer the purpose of the study, one main research question; ‘What is the relationship between organizational culture and a digital communication platform as Slack?’ and two sub questions; ‘How is Slack used to solve problems with internal integration? and ‘How is Slack used to solve problems with external adaption?’ was formulated. The two sub questions came from an operationalization of Schein’s (2010, p.18) well used definition of organizational culture. By using the qualitative method netnography to study the behaviors and interactions of the members of a small organization through participating observations, in combination with the field notes and observations from the prior internship, the research questions were successfully answered. The results showed that Slack was used as a tool to maintain structure and order during problems with external adaption in form of a re-organization creating an unsecure time-period. Decrement in activity also showed that the usage of Slack was limited in time and easily could be exchanged, but that appreciated cultural rites and behaviors created from using it could live on outside of Slack. Results also showed that Slack successfully functioned as a tool to solve problems with internal integration. By allowing new members to efficiently come in contact with both the formal and informal cultural elements, the very essence of culture as in underlying assumptions was quickly taught. The efficiency of using Slack for internal integration was also shown to rely on a new possible problem in form of a disintegration between the private and work. The answer to the main research question was that Slack is an artifact, inhabiting other artifact, living in symbiosis with the organization. Even though Slack could help an organization to cope with problems of external adaption and internal integration, Slack on its own did not serve as a one single place for understanding and becoming a part of an organization and its culture, as the organization and culture still will live and develop outside of the digital medium.<br>Syftet med den här studien var att utforska organisationskultur i en digital miljö, så att en ökad förståelse för de två ämnena kunde utvecklas. Intresset för ämnet kom från observationer och reflektioner införskaffade under en tidigare praktik på en mindre organisation som använde den digitala plattformen Slack i sitt dagliga arbete. För att besvara syftet med studien formulerades en huvudsaklig forskningsfråga; ’Vad är relationen mellan organisationskultur och en digital plattform som Slack?’, och två sekundära frågor; ’Hur används Slack som lösning för problem med intern integration?’, och ’Hur används Slack för att lösa problem med extern anpassning?’. De sekundära frågorna kom från en operationalisering av Scheins (2010, p.18) väl använda definition av organisationskultur. Den kvalitativa metoden netnografi användes för att studera beteende och interaktioner mellan medlemmarna i en mindre organisation. Genom deltagande observationer i kombination med fältanteckningar och observationer från den tidigare praktiken kunde forskningsfrågorna framgångsrikt besvaras. Resultatet visade att Slack användes som ett verktyg för att behålla struktur och ordning under problem med extern anpassning, uppkomna till följd av en omorganisering av företaget. En minskning av aktiviteten i Slack visade att själva användandet av Slack är kopplat till en viss tidsperiod och enkelt kan bytas ut vid förändrat behov, men också att uppskattade beteenden och riter skapade genom användandet av Slack kan leva vidare utanför mediet. Resultatet visade också att Slack framgångsrikt fungerade som ett verktyg för att lösa problem med intern integration. Genom att låta nya medlemmar effektivt komma i kontakt med både formella och informella kulturella element kunde själva essensen av kultur, underliggande förgivettaganden, snabbt läras ut. Effektiviteten av att använda Slack för intern integrering visades också föra med sig ett eget potentiellt problem, en upplösning av gränsen mellan privat och arbete. Svaret på den huvudsakliga forskningsfrågan var att Slack är en artefakt, innehållandes andra artefakter, som lever i symbios med organisationen. Även om Slack kan hjälpa en organisation att hantera problem med extern anpassning och intern integrering, fungerar Slack inte som en ensam källa för att förstå och bli en del av en organisation och dess kultur, eftersom organisationen och dess kultur alltid kommer att leva vidare och utvecklas utanför det digitala mediet.
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Johnson, Robin Scott. "The digital Illusio: gender, work and culture in digital game production." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/524.
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This dissertation analyzes gender in the commercial production of digital games. The purpose is to develop a detailed understanding of gender as it plays out among individuals who develop creative content and in the ideological constitution of the workplace, and to examine the ways in which these individuals participate in and make sense of the production of digital cultural products. The broad line of questioning attempts to provide detail and depth to how gender is organized, symbolized, and identified during the production a commercial game.
The digital game industry and culture have constructed a strong fortress of androcentric ideas, practices, and experiences, and excluding women from digital media production by making entry into the social space unattractive preserves men's dominance of the field. To research the practices at play in the design of digital games, I conducted a case study using participant observation of the production of a digital game at a U.S. game development studio combined with primary document collection and in-depth interviews of workers who produce the game play, technical and artistic elements used in the creation of games in a team-based organization of labor.
My analysis of the game studio worksite and culture revealed entrenched rituals, practices, and discourses of masculinity that produce and are reproduced by digital game workers. The organization of work in terms of space, organizational function and teamwork form decentralized layers of a network that are tightly controlled by the commercial production cycle. Each layer creates boundaries of inclusion and exclusion along multiple lines, including gender. Additionally, I examined how family socialization, the sexual division of labor in computer work and education, and passion for games idealize masculinity in the habitus of game workers. The habitus also structures working practices that are infused with masculinity based on technical proficiency. These working practices reproduce the gender dynamic of the social and symbolic space of the field. The studio's culture also constitutes a masculine symbolic space through inter-related discourses of masculine aesthetics, hegemonic masculinity, and science and technology. Implications for making the field of digital games more diverse and open are discussed.
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Cecil, Malcolm Kirk. "Simulation and the digital refiguring of culture." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0020/MQ29534.pdf.
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Cecil, Malcolm Kirk. "Simulation and the digital refiguring of culture." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26726.
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This thesis elaborates on existing definitions and descriptions of simulation to develop an extended, inter-disciplinary concept of simulation that serves as an orienting model for the interpretation of culture. As cultural theory, simulation offers insights into the stabilization and propagation of cultural forms. Used descriptively, the metaphor of simulation throws into definition a cultural pattern of progressive formalization through increasingly sophisticated methods of abstraction. I find evidence of the pattern at many levels of analysis; metaphysical, social and micro-social, particularly at the level of the body. I use the speculative notion of the digital refiguring of culture to articulate this tendency towards abstraction through a parallel with the enhanced analytic and representational capacities of digital technology. I consider several actual and hypothetical ways that the computer figures in this process. I argue that the basis for cultural form is shifting away from the referential function of the body, as the abstract realm of mediated relations takes on greater importance in modern culture.
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Regan, Clarissa Madge. "The haunted mirror of contemporary digital culture." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/14223.
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The written thesis examines the ramifications of new technologies upon the individual: from digitisation, the internet, mobile phones, closed circuit television cameras, electronic media, recording devices, simulacra and technological mediation. I particularly look at how these phenomena affect one’s own sense of subjectivity, of identity, time-space coordinates, the imagination and social relations. I take a sociological, cultural view of these phenomena - reaching back to the history of old media devices (such as magic lanterns), and tracing a path to the present day, in an attempt to uncover the essence of some of these drives. The growth in electronic archiving of one’s life is also considered as a form of temporal self-distance, an attempt to control time, and lend meaning and significance to life events. The replacement of the real with simulacra is also investigated. This thesis argues there is a metaphysical quest to both extend our powers and expand our consciousness. There is also a seeking of something other, that can be witnessed in the close connection with the supernatural and the uncanny of many of our communication devices, and that a key characteristic of the nature and impact of the internet and digitisation (uncovered particularly by my studio work) is that it becomes about a state of feedback, of acoustic resonance, as a consequence of its instantaneous nature. The studio component comprises a series of ceramic sculptures; mostly figurative works, interacting with found objects. The ceramic works are hand-built, coiled and slabbed, bisque fired and glazed. The found objects included items discovered at antique shops, charity stores and second hand stores. I’ve also used two-way mirrors in some of the installations. A number of my studio works touch upon narrative and fairy tales as an entry point to delve into the ideas discussed in the thesis.
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Nascimento, Vanessa Pereira do [UNESP]. "Laboratórios Interativos Nômades para Criatividade e Experimentação (LINCE): arte/educação pela desmistificação digital." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154914.
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Previous issue date: 2018-06-26<br>Nesta pesquisa são apresentadas relações entre arte/educação e tecnologias contemporâneas no contexto da educação não formal. A partir das ações culturais realizadas pelo projeto de cultura digital Laboratórios Interativos Nômades para Criatividade e Experimentação (LINCE), sobretudo na zona leste da cidade de São Paulo, o desenvolvimento de um posicionamento crítico frente as tecnologias contemporâneas é relacionado a sua desmistificação e a experiência estética. A necessidade de políticas públicas de inclusão que desenvolvam a postura crítica do indivíduo, não se limitando apenas a oferta de acesso à internet é relacionada a exclusão digital e a exclusão cultural. A desmistificação dos dispositivos tecnológicos e a aprendizagem dos meios de produção são relacionadas ao empoderamento digital, processo que inclui o desenvolvimento de uma relação sensível com as tecnologias contemporâneas por meio da experiência estética.<br>In this research, the relation between art education and contemporary technologies is presented in a non-formal education context. Based on the cultural actions carried out by the Nomadic Interactive Laboratories for Creativity and Experimentation (LINCE) digital culture project, especially in the eastern part of the city of São Paulo, the encouragement of critical thinking when exposed to contemporary technologies is related to its demystification and aesthetic experiences. The need for public inclusion policies that develop the individual's critical stance, not limited to the provision of Internet access, is related to digital exclusion and cultural exclusion. The demystification of technological devices and learning about the means of production are related to the digital empowerment, a process that includes the development of a sensitive relationship with contemporary technologies through aesthetic experience.
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Wanjema, Richard Wachira. "INTERACTIVE MEDIA and CULTURAL HERITAGE: Interpreting Oral Culture in a Digital Environment." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343405232.
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Mohialdeen, Haneen, та Johannes Draaijer. "Security Culture in Sweden with Focus on Digital Certificate Culture in Organizations". Thesis, Linnéuniversitetet, Institutionen för datavetenskap och medieteknik (DM), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-97573.
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Digital certificates lie at the heart of security where effective security culture enables digital certificates to be widely and properly deployed in organizations. Digital certificates provide a way to secure websites and bank transactions, digitally sign documents and emails, enable secure access to remote locations on the internet through VPNs by providing a means for authentication, authorization, confidentiality, integrity, and non-repudiation. In this thesis, the barriers to an effective digital certificate security culture and the possibilities of misuse or misconception of certificates on both client and server side are investigated by first testing 49 scenarios for misuse and three for misconceptions in the network laboratory in Linnaeus University and, then by conducting a survey designed based on the eight dimensions of the Security Culture Framework. Possibilities for misuse were discovered and described in a Functional Scope Model and the most common barriers were found to be lack of funding and awareness regarding digital certificates within organizations. Overall, it was found that there is high usage, willingness and motivation in regards to certificates in organizations in Sweden but the quality of the digital certificate security culture needs to be improved.
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Bortolazzo, Sandro Faccin. "Narrativas acadêmicas e midiáticas produzindo uma geração digital." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/128901.
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Inscrita no referencial teórico da vertente pós-estruturalista dos Estudos Culturais em Educação, esta tese procura mostrar a produção de uma Geração Digital a partir da interlocução entre narrativas acadêmicas e midiáticas. Discute as condições culturais que têm permitido atrelar crianças e jovens a um rótulo geracional específico e sinaliza um denominador comum balizado pela conexão desses sujeitos com artefatos eletrônicos digitais, a exemplo de computadores e telefones celulares. A pesquisa mapeou as variadas narrativas acadêmicas que demarcam uma geração conectada às tecnologias digitais, dando destaque aos estudos de autores reconhecidos nesse debate como Tapscott, Prensky, Carr, entre outros. O mapeamento das narrativas midiáticas acerca dessa geração foi realizado mediante uma análise das reportagens de capa de duas revistas semanais – Veja e Época – no período de 1998 a 2013. O foco central da tese recaiu sobre as interlocuções entre as narrativas acadêmicas e midiáticas, destacando-se aí a emergência de certas representações e saberes que circulam sobre essa parcela da população jovem. O referencial teórico da pesquisa compôs-se de autores que discutem os conceitos de identidade, geração, narrativa, representação e cultura digital, com destaques à Bauman, Rose, Hall, Lister, Buckingham, entre outros. Os resultados da pesquisa expõem uma geração que vem sendo instituída por narrativas que apontam a convivência, familiaridade e extraordinária habilidade para operar aparatos digitais como o que distingue os digitais dos sujeitos de outras gerações. Observou-se que, ao associar determinadas características a crianças e jovens, tais como a destreza em operar smartphones e tablets, as narrativas acadêmicas e midiáticas acabam produzindo verdades sobre nossa sociedade e os sujeitos que nela vivem. Tais narrativas sinalizam também para os perigos da imersão de crianças e jovens no universo digital – riscos que se encontram ancorados, frequentemente, nas falas de especialistas provenientes de distintas áreas de conhecimento. Ambas as narrativas sublinham o quanto a ideia de velocidade e consumo estão intrinsicamente relacionadas às tecnologias digitais, o que vem permeando também a convocação ao uso dos aparatos tecnológicos nos espaços escolares.<br>Inscribed under the theoric referential from post structuralist strand of Cultural Studies in Education, this thesis aims to show the production of a Digital Generation from the interlocution between academic and mediatic narratives. It discusses the cultural conditions that have allowed linking children and youth into a specific generational label and signalizes a common denominator marked by their connection with digital electronic artifacts, as computers and cell phones. The research mapped the several academic narratives that demarcate a generation connected to digital technologies, with prominence for studies of recognized authors in the field such as Tapscott, Prensky, Carr, among others. The mapping of mediatic narratives about the Digital Generation was conducted through an analysis of cover reportages from two weekly magazines – Veja and Época – from the period between 1998 and 2013. The central focus of the thesis fell under the interlocution between academic and mediatic narratives, highlighting the emergence of certain representations and knowledges that circulate about this parcel of young population. The theoric referential of the research is consisted by authors who discuss the concepts of identity, generation, narrative, representation and digital culture, with highlights to Bauman, Rose, Hall, Lister, Buckingham, among others. The research results expose a generation that has been instituted by narratives which point the conviviality, the familiarity and the extraordinary ability to operate digital devices as a fact to distinguish digitals from subjects of other generations. It was observed that, by associating certain characteristics to children and youth, such as the skills to operate smartphones and tablets, the academic and mediatic narratives end up producing truths about our society and the subjects who live on it. Such narratives signalize also the dangers for the immersion of children and youth in the digital world – risks that are frequently anchored by expert speeches from different knowledge fields. Both narratives underline how much the idea of speed and consumption are intrinsically related to digital technologies, which is also permeating the convocation for the use of technological devices in school spaces.
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Duarte, Carlise Scalamato. "Tradutibilidades do digital para a cultura da dança : espetáculos contemporâneos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/135536.
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A dança é uma expressão corporal, artística, política e social que tem o corpo como mídia de si mesmo. No momento em que o mundo digital está tão presente nos estudos da comunicação, na cultura, no cotidiano dos sujeitos, a dança também é atravessada por esse fenômeno. Por meio dos aparelhos digitais multimídias, a dança adquire outras concepções de corpo, movimento e espaço que retornam à arte através de representações tecnológicas. Esta tese de doutorado tem como tema o estudo da cultura da dança e suas tradutibilidades sobre a linguagem digital, pela perspectiva teórica da semiótica da cultura. Foram investigadas as qualidades dos processos de tradução que ocorrem na inter-relação dos sistemas e configuram as características da cultura digital na dança contemporânea. O objetivo geral da pesquisa foi compreender os modos pelos quais a dança contemporânea realiza processos de tradução da linguagem digital, na inter-relação entre sistemas, linguagens e textos. Nessa perspectiva, o problema de pesquisa está assim proposto: Como espetáculos de dança na contemporaneidade operam tradutibilidades da linguagem digital, considerando especialmente a inter-relação de sistemas, a criação de textos (espetáculos) e a atualização da própria dança? A introdução apresenta o tema, os objetivos, a problematização e a justificativa; após, seguem três capítulos constituidores do referencial teórico, sendo um sobre a semiótica da cultura, na perspectiva de Lotman (1979), que irá perpassar toda a tese, outro a respeito da semiosfera da dança destacando os fundamentos de Laban (RENGEL, 2003) e o quarto capítulo acerca da cultura digital, à luz dos conceitos de Manovich (2001); o quinto capítulo trata dos procedimentos metodológicos, os critérios de seleção do corpus e as análises dos espetáculos. A trajetória metodológica descreve a construção de uma análise semiótica de espetáculos de dança selecionados em vídeos na plataforma www.youtube.com. Analisamos as apresentações: a- Skinnerbox (AHMED, 2005); b- Pixel (MERZOUKI, 2014); c- Slave to the Rhythm (BILLBOARD MUSIC AMERICAN AWARDS, 2014). No decorrer da pesquisa constatou-se que os sentidos gerados a partir da cultura digital na dança produzem uma naturalização do corpo eletrônico, das práticas de interação com imagens, aparelhos, próteses e o uso de softwares como recursos cenográficos para a criação de espetáculos de dança. Concluiu-se que as maneiras de nos relacionarmos com o mundo através da arte da dança contemporânea são atravessadas pelas lógicas da cultura digital; esse cruzamento de informações reconfigura o sistema da cultura da dança alterando os modos de produções, os fazeres, os saberes e o pensar dança. Logo, a semiose entre os sistemas ocorre por contaminação e as fronteiras da dança tornam-se porosas à transdisciplinaridade, abrangendo uma gama de novas técnicas, tecnologias do corpo, do movimento e estimulando uma nova compreensão da complexa realidade das dimensões que integram o mundo.<br>The dance is a bodily expression, artistic, political and social that has the body as media itself. By the time that the digital world is so present in communication studies, in culture, in everyday subjects, dance is also crossed by this phenomenon. Through multimedia digital devices, dance acquires other conceptions of body, movement and space returning to art through technological representations. This doctoral thesis has as its theme the study of dance culture and translations on the digital language, the theoretical perspective of cultural semiotics. The qualities of translation processes were investigated that occur in the interrelationship of systems and configure the features of digital culture in contemporary dance. The overall objective of the research was to understand the ways in which contemporary dance performs translation processes the digital language, the interrelation between systems, languages and texts. In this perspective, the research problem is thus proposed: How dance performances in the contemporary operating translations digital language, especially considering the interrelationship of systems, the creation of texts (shows) and updating the dance itself? The introduction presents the theme, the objectives, the questioning and justification; after, following three constituent chapters of the theoretical framework, one of the semiotics of culture, from the perspective of Lotman (1979), which will pervade the whole thesis, another about the dance semiosphere highlighting the fundamentals of Laban (RENGEL, 2003) and the fourth chapter on digital culture, to the concepts of Manovich (2001); the fifth chapter deals with the methodological procedures, the corpus selection criteria and analysis of performances. The methodology describes the construction of a semiotic analysis of selected dance performances in videos on www.youtube.com platform. We have analyzed the presentations: a- Skinnerbox (Ahmed, 2005); b- Pixel (Merzouki, 2014); c- Slave to the Rhythm (BILLBOARD MUSIC AWARDS AMERICAN, 2014). During the research it was found that the senses generated from the digital culture in dance produce a naturalization electronic body, the interaction practices with images, appliances, prosthetics and the use of software as scenographic resources for creating dance performances. It was concluded that the ways we relate to the world through the art of contemporary dance are crossed by the logic of digital culture; this intersection information reconfigures the dance culture of the system by changing modes of production, the doings, knowledge and thinking dance. So semiosis between systems is contamination and dance borders become porous to transdisciplinarity, covering a range of new techniques, body technologies, movement and stimulating a new understanding of the complex reality of the dimensions that make up the world.<br>La danza es una expresión corporal, artística, política y social que tiene el cuerpo como medios de comunicación en sí. En el momento en que el mundo digital está tan presente en los estudios de comunicación, en la cultura, en temas cotidianos, la danza está también atravesado por este fenómeno. A través de los dispositivos digitales multimedia, danza adquiere otras concepciones del cuerpo, el movimiento y el espacio que regresan al arte a través de representaciones tecnológicas. Esta tesis doctoral tiene como tema el estudio de la cultura de la danza y tradutibilidades en el lenguaje digital, la perspectiva teórica de la semiótica cultural. las cualidades de los procesos de traducción se investigaron que se producen en la interrelación de los sistemas y configurar las características de la cultura digital en la danza contemporánea. El objetivo general de la investigación era comprender las formas en que realiza danza contemporánea traducción procesa el lenguaje digital, la interrelación entre los sistemas, lenguajes y textos. En esta perspectiva, el problema de investigación se propone, por lo tanto: ¿Cómo espectáculos de danza en el lenguaje digital tradutibilidades operativos contemporáneos, especialmente teniendo en cuenta la interrelación de los sistemas, la creación de textos (espectáculos) y la actualización de la danza en sí misma? La introducción presenta el tema, los objetivos, el interrogatorio y la justificación; luego, después de tres capítulos que constituyen el marco teórico, una de la semiótica de la cultura, desde la perspectiva de Lotman (1979), que impregnará toda la tesis, otro sobre el semiosphere danza destacando los fundamentos de Laban (Rengel, 2003) y el cuarto capítulo de la cultura digital, a los conceptos de Manovich (2001); el quinto capítulo se ocupa de los procedimientos metodológicos, los criterios de selección y análisis de corpus actuaciones. La metodología se describe la construcción de un análisis semiótico de los espectáculos de danza seleccionados en los videos en la plataforma www.youtube.com. Hemos analizado las presentaciones: a- Skinnerbox (AHMED, 2005); b- Pixel (MERZOUKI, 2014); c- Slave to the Rythm (BILLBOARD AMERICAN MUSIC AWARDS, 2014). Durante la investigación se descubrió que los sentidos generados a partir de la cultura digital en la danza producen un cuerpo electrónico de naturalización, las prácticas de interacción con imágenes, aparatos, prótesis y el uso de software como recursos escenográficos para la creación de espectáculos de danza. Se concluyó que las formas en que se relacionan con el mundo a través del arte de la danza contemporánea son atravesadas por la lógica de la cultura digital; esta información intersección reconfigura la cultura de la danza del sistema modificando los modos de producción, las obras, el conocimiento y el pensamiento de baile. Así semiosis entre los distintos sistemas fronteras de contaminación y de danza se vuelven porosos a la transdisciplinariedad, que abarca una gama de nuevas técnicas, tecnologías cuerpo, el movimiento y la estimulación de una nueva comprensión de la compleja realidad de las dimensiones que componen el mundo.
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Riggs, Nicholas Andrew. "Realizing Virtuality: Tracing the Contours of Digital Culture." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3311.
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People connect digitally through social media, fusing their relationships with meaning in a non-space of relational potential--a translucent and fluctuating enclave where the self becomes elastic. This thesis explores how I have formed bonds in virtual space through ritual interaction. Looking at the ways I learned to use technology through the progression of a close personal relationship, I suggest that social media use is a performance of identity--a virtuality that exposes how people negotiate the digital enclosure of contemporary society. My story is one of digital nativity and reclaiming love through virtual performance. I show how these performances have had a profound impact on my understanding of self-in-relation-to-other. Finally, I put forth a theory of Real Virtuality, suggesting that virtual reality has escaped the confines of the machine. Thus, digital conversations penetrate offline social situations in ways that have stirring consequences for people in the digital age.
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Tobgye, Sonam. "Digital transformation in Bhutan: Culture, workforce and training." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/115459/1/115459_8792526_tobgye_sonam_thesis.pdf.
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The study investigated digital transformation and its impact on Bhutan Post and Community Centres (CCs). The study revealed that Bhutan has recognised ICT as the cornerstone of the digital era and has gradually opened up itself to globalisation by carefully balancing modernisation with traditions. Digitally transforming a business can allow it to capitalise on new opportunities to avoid disruption, accelerate business activities, lower costs, and bring about positive change in processes, people, and competency models. In Bhutan, digital transformation and establishment of CCs have proved to be extremely useful in enhancing happiness and well-being.
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Pavan, Paula Daniele. "A cultura digital como acontecimento : movimentos na rede dos sentidos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/169945.
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Appuyée sur les présupposés théoriques de l’Analyse du Discours (AD), basée sur Michel Pêcheux, cette thèse analyse les mouvements de sens opérés par l’événement énonciatif de la culture numérique dans le domaine du Ministère de la Culture (MinC) à partir de la gestion de Gilberto Gil. Les matérialités signifiantes mobilisées permettent de travailler avec la culture numérique sous deux perspectives : celle du discours institutionnel et celle du discours des groupes sociaux. Ainsi, au cours de l’écriture, je fais un battement entre la théorie et l’analyse, ainsi qu’entre ces perspectives à propos du croisement entre la culture et l’internet. Le regard que je lance sur la culture la considère comme un processus de production de sens et comme un champ de disputes traversé par des contradictions. En suivant cette approche, je pénètre dans les méandres de la culture numérique, je présente son contexte socio-historique-idéologique, je dessine ses contours et j’observe les effets de sens produits à partir de la délimitation d’une formation discursive (FD) et son complexe interdiscoursif. Il s’agit de la FD-Gouvernementale dans ses relations d’alliance et de force avec d’autres FDs : FD-Mouvements Sociaux, FD-Culture Libre, FD-Informatisation et FD-Nationaliste. À partir de l’organisation de la scène discursive dans laquelle la culture numérique est énoncée, j’examine les querelles matérialisées au sein de cette FD quand y est produite une fissure par le déclenchement d’une nouvelle position-sujet, la position-sujet progressiste, qui commence à établir des relations internes de divergence avec une autre déjà enracinée, la position-sujet conservatrice, et des relations externes, surtout d’alliance, avec les FDs voisines. Lorsqu’elle est signifiée à partir de cette nouvelle position-sujet, la culture numérique cause, par l’intervention de sens pré-construits, des mouvements de répétition et de transformation. Ces mouvements produisent un effet de discours fondateur pour la culture numérique dans le domaine gouvernemental, ainsi qu’ils instaurent un processus d’actualisation de la mémoire sociale, discursive, d’archive, métallique, discursive numérique et culturelle, dans un jeu entre mémoire et actualité, tradition et invention. Cette agitation motive aussi l’examen des effets de sens que la culture numérique produit dans sa relation avec l’appropriation technologique et avec la création, ce qui permet de discuter sur comment il peut y avoir autant d’espace pour la création comme un simulacre que pour la création comme mécanisme de transformation sociale, culturelle et historique. Les mouvements de sens analysés se présentent également dans l’hétérogénéité de points de vue accueillis par la nouvelle position-sujet, lesquels sont matérialisés par la prise de position des groupes sociaux par rapport à la culture numérique. C’est par l’instauration de points de reproduction, faille et lutte que des sujets de groupes sociaux divers signifient la culture numérique et s’y signifient – processus qui implique dès l’adhésion aux savoirs déjà produits institutionnellement jusqu’à la transformation de ces sens. C’est, par conséquent, à ces différents mouvements que je m’intéresse pendant les quatre chapitres de la thèse, en cherchant à parcourir l’ordre de la culture numérique dans ses «clivages souterraines» lorsque je travaille avec des opacités, des contradictions, des jeux de force et des relations de pouvoir comportés par elle.<br>Amparada nos pressupostos teóricos da Análise do Discurso (AD) fundamentada em Michel Pêcheux, esta tese analisa os movimentos de sentidos operados pelo acontecimento enunciativo da cultura digital no âmbito do Ministério da Cultura (MinC) a partir da gestão de Gilberto Gil. As materialidades significantes mobilizadas permitem trabalhar com a cultura digital sob duas óticas: a do discurso institucional e a do discurso dos grupos sociais. Sendo assim, no decorrer da escrita, realizo um batimento tanto entre teoria e análise, quanto entre essas perspectivas acerca do cruzamento entre cultura e internet. O olhar que lanço sobre a cultura a considera como um processo de produção de sentidos e como um campo de disputas permeado por contradições. É seguindo esse enfoque que adentro nos meandros da cultura digital, apresento seu contexto sócio-histórico-ideológico, delineio seus contornos e observo os efeitos de sentido que produz a partir da delimitação de uma formação discursiva (FD) e seu complexo interdiscursivo. Trata-se da FD-Governamental em suas relações de aliança e de força com outras FDs: FD-Movimentos Sociais, FD-Cultura Livre, FD-Informatização e FD-Nacionalista. A partir da organização da cena discursiva em que a cultura digital é enunciada, perscruto as contendas materializadas no seio dessa FD quando nela se produz uma rachadura pela eclosão de uma nova posição-sujeito, a posição-sujeito progressista, que passa a estabelecer relações internas de divergência com outra já alicerçada, a posição-sujeito conservadora, e relações externas, sobretudo de aliança com as FDs do entorno. Ao ser significada desde essa nova posição-sujeito, a cultura digital provoca, através da intervenção de sentidos pré-construídos, movimentos de repetição e de transformação. Esses movimentos produzem um efeito de discurso fundador para a cultura digital no âmbito governamental, bem como instauram um processo de atualização da memória social, discursiva, de arquivo, metálica, discursiva digital e cultural, num jogo entre memória e atualidade, e entre tradição e invenção. Essa agitação motiva ainda o exame dos efeitos de sentido que a cultura digital produz em sua relação com a apropriação tecnológica e com a autoria, o que possibilita discutir sobre o modo como nela pode haver espaço tanto para a autoria como simulacro, quanto para a autoria como mecanismo de transformação social, cultural e histórica. Os movimentos de sentidos de que trato se mostram igualmente na heterogeneidade de pontos de vista que a nova posição-sujeito acolhe, os quais são materializados pela tomada de posição dos grupos sociais com relação à cultura digital. É através da instauração de pontos de reprodução, falha e luta que sujeitos de grupos sociais diversos significam a cultura digital e se significam nela – processo que envolve desde a adesão aos saberes já produzidos institucionalmente até a transformação desses sentidos. É, portanto, sobre esses diferentes movimentos que me detenho nos quatro capítulos da tese, buscando percorrer a ordem da cultura digital em suas “clivagens subterrâneas” ao trabalhar com opacidades, contradições, jogos de força e relações de poder por ela comportados.
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Belmonte, Ávila Juan Francisco. "Corporeidad, identidad y cultura digital : género y sexualidad en videojuegos= Corporeality, identity and digital culture: gender and sexuality in video games." Doctoral thesis, Universidad de Murcia, 2015. http://hdl.handle.net/10803/301286.
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Esta tesis doctoral aborda la reproducción de los discursos sobre la identidad sexual y de género en los videojuegos utilizando metodologías del campo de los Estudios Culturales (Stuart Hall, Henry Jenkins), de los estudios de género y crítica queer (Donna Haraway, Judith Butler, Sandy Stone), y del ámbito de los Game Studies (Espen Aarseth, Ian Bogost, Wendy Chun, Jesper Juul y Gonzalo Frasca). El estudio analiza tanto los elementos representacionales que intervienen en la configuración de los videojuegos como otros propios del medio específico estudiado, tales como el código de programación utilizado, las articulaciones de opción que ofrecen los juegos, sus formas de control y su naturaleza interactiva. Así, se revisitan textos fundamentales en los Estudios Culturales para el estudio de relaciones entre texto e ideología al tiempo que se ofrecen nuevas propuestas para el análisis de las características propias del medio, al incidir en aspectos casi totalmente ignorados por la crítica hasta el presente. La tesis, en su primer capítulo, resume las fuentes fundamentales que abordan la relación entre ideología y media digitales interactivos, para así dar paso a cinco unidades temáticas entrelazadas y complementarias. La primera de estas unidades analiza la relación entre el devenir histórico de un país (Japón), los discursos sobre identidad generados a raíz de dichos eventos históricos, y el modo en el que la cultura popular refleja estas visiones identitarias con textos afines a los discursos dominantes. De esta forma, el capítulo dos analiza la relación entre la historia japonesa, los discursos sobre el género y la sexualidad en este país, y su reproducción en la cultura popular. Las fuentes bibliográficas para esta sección incluye a expertos sobre la historia de Japón como Andrew Gordon, Michiko Suzuki o Tom Gill, estudiosos de la cultura popular japonesa (Susan J. Napier), y textos claves de la cultura popular japonesa claves. La siguiente de estas unidades vincula una de las características principales de los videojuegos, choice (la interacción basada en opciones), con la difusión de identidades concretas que son absorbidas por los usuarios bajo un halo de interactividad y de relaciones entre usuario, máquina y texto digital aparentemente libres. Esta sección cuestiona percepciones automáticamente positivas sobre la interactividad y analiza este elemento como un mecanismo de difusión ideológica aplicando las ideas de Louis Althusser sobre Aparatos Ideológicos de Estado y los análisis del pensamiento arborescente formulados por los filósofos Gilles Deleuze y Félix Guattari. Una tercera unidad analiza la relación entre la naturaleza háptica (o táctil) de muchas interacciones entre el jugador y el videojuego y la absorción de discursos sobre la identidad. Muestra que con las interacciones táctiles con los videojuegos a través del mando, el cuerpo humano pasa a articularse con mecanismos de repetición y concentración háptica que complementan la transmisión visual de contenido y la absorción de flujos de carácter ideológico. La cuarta unidad se adentra en el análisis del código binario y de las líneas de código escritas durante la programación de este medio para abordar un estudio comparativo entre un código puramente computacional y otro tipo de código, de carácter normativo y social, que se complementan mutuamente. Y la quinta, y última, área de estudio retoma la temática no-humana (animal) del capítulo anterior para buscar formas de pensar sobre lo humano en videojuegos fuera de los circuitos de lo normativo. El capítulo encuentra dicho espacio en avatares y espacios no-humanos, en temáticas y entornos alejados de lo social, y en formas de relación con el entorno que no están relacionadas con percepciones, movimientos, o corporeidades humanas.<br>Combining the methodologies of Cultural Studies, Gender and Queer Studies, and Game Studies, this dissertation studies the articulation of gender and sexuality in video games, moving from a more general, representational-oriented, analysis to more abstract concerns. The dissertation starts with the human as a historical and ideology-regulated category, moves on to study the processes for reproducing gender and sexuality which are specific to Game Studies (such as choice, haptic input, and code) to go back to the human through the study of non-human elements. Not limited to image-based visions of gender and sexuality, this study also pays attention to invisible processes which run in the background of games or which seldom receive any attention. Chapter 2, the most representational-oriented chapter of all, explores the history of Japan and its national discourses about gender and sexuality in order to show that they have had a crucial role in the creation of characters and narratives in Japanese popular culture products, primarily, but not exclusively, in manga and anime. As this chapter shows, ideology limits the situations in which individuals are allowed to act (or, in which they perceive they are allowed to act). Together, choice and ideology serve as historical and social mechanisms for the production and reproduction of specific identities. Choice also happens to be a fundamental element in video games; to it is devoted Chapter 3, which explores the potential ideological capabilities of specific implementations of choice in this medium. This chapter shows that the affordances and limitations games offer players have a very specific impact on the kinds of gender and sexualities that are promoted and addressed during gameplay. Video games are, in general, cultural products created within normative identity discourses that also promote similarly aligned identities. The medium is, however, also malleable and subject to modification by users who might try to implement (or wish for) changes in the number and quality of choices available at any given time during gameplay. Choice, as a powerful tool, also allows game designers to consciously introduce critically relevant discourses into their games. As this chapter shows with the evolution of the choices available in the Dragon Age series, choice seems to evolve to accommodate a broader range of sensibilities and desires. This gradual broadening, however, is not necessarily always positive, and must be carefully analyzed when thinking about games as identitarian machines. Another fundamental element when playing games is the haptic relation established between players and games, studied in Chapter 4. The chapter demonstrates that, in addition to the visual elements of games (something I mainly covered on the second chapter), repeated tactile inputs and forms of haptic incorporation during gameplay also play a critical role as enforcements of specific visions of gender and sexuality. Chapter 5, with its divide between animal and human identities, computer code and social code, adds to this vision of video games as powerful ideological tools aligned with normativity. However, with the analysis of non-human elements, the chapter also opens the possibility of going beyond normativity in order to analyze less constrained identities in video games. Chapter 6 does precisely this and offers a way to talk about expanded representations of human relations and identities. The key to finding alternatives discourses about the human resides in looking at games that abandon the human world to explore non-human game mechanics and settings. In this sense, the chapter shows that it is through non-human relations, motions, and worlds that games might suggest presently new forms of thinking about the human.
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Klang, Helena. "Antropofagia digital: a questão autoral no tempo do compartilhamento." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3510.
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O objetivo desta dissertação é investigar a relação conceitual entre a Antropofagia e a Cultura do Remix, entender os conflitos no campo do direito autoral provocados pelas práticas de compartilhamento cultural, assim como analisar as políticas culturais desenvolvidas pelo Ministério da Cultura durante o Governo Lula, para adequar a legislação autoral à Cultura Digital. Tendo como ponto de partida o Manifesto Antropofágico de Oswald de Andrade, a pesquisa buscou compreender a metáfora criada pelo poeta brasileiro para investigar como esta foi apropriada ao longo do tempo, chegando ao século 21 no contexto digital. Como os antropófagos, os usuários da internet se apropriam da cultura em processos colaborativos de hibridação cultural. As práticas que surgiram com a digitalização da cultura ocorrem à revelia dos direitos do autor, explodindo a noção de autoria ao transformá-la num território compartilhado entre amadores e profissionais. Tal realidade impacta a forma como a indústria cultural opera, causando uma guerra pelos direitos autorais. Neste conflito, o Estado brasileiro, por meio do Ministério da Cultura, conquista uma posição de destaque internacional ao se lançar o desafio de elaborar, em conjunto com a sociedade, políticas culturais para adaptar as leis autorais à cultura digital.<br>The goal of this dissertation is to investigate the conceptual relationship between Antropophagy and Remix Culture, to understand the conflicts in the field of copyright caused by cultural sharing practices, as well as to examine cultural policies developed by the Ministry of Culture during the Lula government, to adjust copyright law to digital culture. Taking as its starting point the Manifesto Antropofágico from Oswald de Andrade, the research sought to understand the metaphor created by the Brazilian poet to investigate how this was appropriated from time to time reaching the 21-century, in the digital context. Like the cannibals Internet users grab the culture in collaborative processes of cultural hybridization. The practices that have emerged with the digitization of culture occur despite copyrights, exploding the notion of authorship, turn it into a shared territory between amateurs and professionals. This reality impacts the way the cultural industry operates, causing a war by copyright. In this conflict, the Brazilian government, through the Ministry of Culture, wins a position of international prominence when it launched the challenge to develop, in conjunction with society, cultural policies to adapt copyright laws to digital culture.
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Favarin, Edenise do Amaral. "AUTO(TRANS)FORMAÇÃO DO PEDAGOGO NA CULTURA DE CONVERGÊNCIA DIGITAL: NOVOS PROCESSOS A PARTIR DA EPISTEMOLOGIA DIALÓGICO-AFETIVA." Universidade Federal de Santa Maria, 2015. http://repositorio.ufsm.br/handle/1/7238.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This thesis, carried out at the Graduate Program in Education in the research line Formation, Knowledge and Professional Development, addresses educators' self (trans)formation in the culture of digital convergence from the perspective of a dialogical-affective epistemology. The overall objective is to investigate experiences of integration with digital technologies and the WEB in the Education major courses at the Federal University of Santa Maria. The specific objectives are to: a) characterize the new generation of pre-service teachers in the culture of convergence; b) examine official documents that support the Education major course in terms of its approximation to the concept of a culture of digital and technological convergence; c) map experiences of integration with digital technologies in Education majors; d) identify facilitating elements for integrating the culture of convergence and the dialogical-affective epistemology in Education majors. The methodological process involved the triangulation of information from the literature review, document analysis, an exploratory study using a Google Drive form and narrative reconstruction designed from the educational spiral approach. The theoretical conceptual definition was based on the concepts of teacher education, culture of digital convergence and the Education major program. The political-pedagogical project (PPP) of the undergraduate Education programs are aligned with official documents. However, the PPP offers few considerations regarding the digital culture as a curricular reference for the education of pre-service teachers. We infer that this shows a detachment from the culture of the new generation, which is an important aspect that is also highlighted in the Education major national curricular guidelines. In the Education major at UFSM, few teachers integrate technology into their teaching practices. Therefore, we believe that teachers need to overcome the fear of integrating digital technologies and the WEB to protagonize this paradigmatic rupture through their own conduct.
Keywords: Teacher education. Culture of digital convergence. Education in the digital culture. Pedagogy in the digital culture<br>Esta dissertação, desenvolvida no Programa de Pós-Graduação em Educação (PPGE), Linha de pesquisa 1 - Formação, Saberes e Desenvolvimento Profissional, tem como temática central a auto(trans)formação do pedagogo na cultura da convergência digital, sob a perspectiva da epistemologia dialógico-afetiva. O objetivo geral é investigar experiências de integração das tecnologias digitais e da WEB desenvolvidas nos cursos presenciais de licenciatura em Pedagogia da Universidade Federal de Santa Maria (UFSM). Decorrente, os objetivos específicos são: a) Caracterizar as novas gerações de ensinantes-aprendentes na cultura de convergência; b) Analisar os documentos legais que subsidiam os cursos presenciais de licenciatura em pedagogia quanto à aproximação do conceito de cultura de convergência digital e tecnológica; c) Mapear experiências de integração das tecnologias digitais nos cursos de pedagogia; d) Identificar elementos facilitadores para a integração da cultura de convergência e da epistemologia dialógico-afetiva nos cursos de pedagogia. O processo metodológico envolveu a triangulação das informações, a partir da pesquisa bibliográfica, da análise documental, do estudo exploratório com formulário Google Drive e das reconstruções narrativas docentes, concebidas a partir da espiral investigativo-formativa. A definição teórico-conceitual foi construída a partir dos conceitos: formação de professores, cultura de convergência digital e Curso de Pedagogia. Os Projetos Político-Pedagógicos dos cursos encontram-se em consonância com os documentos legais analisados, contudo, inferimos que pelo fato dos referidos PPP considerarem minimamente a cultura da convergência digital como referência curricular na formação do futuro pedagogo, demonstra distanciamento da referência cultural das novas gerações, sendo este um aspecto importante destacado nas DCN para os Cursos de Pedagogia. No âmbito das Pedagogias/UFSM, poucos docentes integram as tecnologias em suas práticas pedagógicas. Portanto, consideramos que os professores necessitam superar o receio em integrar as tecnologias digitais e a WEB para protagonizarem essa ruptura paradigmática a partir do próprio comportamento.
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Dinnen, Zara. "Mixed media : representing the digital in contemporary American culture." Thesis, Birkbeck (University of London), 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590625.
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As we continue to move through a moment of pervasive digital culture, and increasingly ubiquitous digital technology, new aesthetic paradigms emerge across the arts. This thesis explores those paradigms, representations of the digital, as they appear in contemporary American culture. Rather than reflecting on this concern through the parameters of digital texts, this thesis will develop an expanded idea of digital culture, one that includes print and analogue works that reflexively engage with the digital. The digital environments we negotiate today are culturally rooted in the US. Despite its history, the presence of digital culture as a formative aspect of contemporary American literature and art has been little explored from within the discipline of American studies. This thesis will argue that more sustained critical attention is needed to consider how the digital emerges as a subject of American culture since 2000. Beginning with a study of the status of the book in the digital age, this thesis contends with its subject through examinations of remixing in literature, and of the representation of code in visual culture, before moving on to consider themes of location and identity in networked environments. It will provide close readings of a range of texts: books by the publishers Mcsweeney's; literary works by Mark Amerika, Jennifer Egan, Robert Fitterman, Jonathan Lethem, Richard Powers, and Gary Shteyngart; the films The Social Network and Catfish; and artworks by Cory Arcangel, Eva and Franco Mattes, and Takeshi Murata. This thesis will argue that the digital is a key subject for American culture of the last fifteen years. It will consider the digital as materially, and formatively, embedded in culture. To address the complexity of this approach, this thesis will study contemporary American literature and art through the lens of digital theory.
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Ehlin, Lisa. "Becoming Image : Perspectives on Digital Culture, Fashion and Technofeminism." Doctoral thesis, Stockholms universitet, Institutionen för mediestudier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-121923.
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Departing from a technofeminist perspective, Becoming Image, places the digital image in a broader context of modern and postmodern technological discourses and fashion. In four articles, the compilation dissertation expands a contemporary and imagistic tech discourse by questioning the ideology of ”masculinity”―specifically the idea of it as a historically male domain. Through interviews, discourse analysis and feminist critique, as well as an interdisciplinary focus on digital media, the project investigates how everyday image practices open up for new embodied experiences. Focusing on women and social media, the articles examines the way material and immaterial aspects of images overlap in everyday life. Rather than artistic intention, emotions and basic human interaction often lie at heart of becoming image. Fashion is, however, highly present in this critical transformation. Not only as collaborative projects emerge out of combining new technologies and dress―such as using your smartphone to elevate your clothing―but also how fashion is a technology itself. Fashion highlights the body as medium, but fashion is also always (mostly) image. Previous research around the digital image and its meaning has often stressed the banality of everyday image practices as taking selfies. However, these debates represent deeper cultural values and norms, which the dissertation reaches beyond. As women, and also queer and trans-people increasingly innovate and interfere with normative technological usage, it becomes evident that such groups have been excluded from communities organized around technological power and skill. As with language, technology and digital imagery are not neutral media. Women have hence been excluded―and been forced to use instruments and apps seemingly made for strict masculine purposes. Arguably, image practices such as selfies or image micro-blogging encourage women to “write” themselves out of a world they have not constructed themselves. Thus, Becoming Image simultaneously illuminates the structural and fundamental levels of technology and gender―while also suggesting new methodological and theoretical ways of studying and approaching digital media.<br><p>At the time of the doctoral defense, the following paper was unpublished and had a status as follows: Paper 4: Accepted.</p><p> </p>
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Taurino, Giulia <1989>. "Redefining the Anthology: Forms and Affordances in Digital Culture." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amsdottorato.unibo.it/9365/1/Giulia_Taurino_PhD_Thesis.pdf.
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As the longtime dominant U.S. television business model has been challenged in various ways by industrial and technological changes in recent years, more heterogeneous narrative forms have emerged in addition to original serial structures. Indeed, the proliferation of video-on-demand services is forcing seriality to adapt to the contemporary mediascape, giving rise to audiovisual products that can be transferred online and present specificities in production, distribution and reception. One of the outcomes of such changes in U.S. television series at the dawn of the twenty-first century is the anthology series divided in different seasons with separate stories, yet linked by tone and style. My research positions itself in such a technological, industrial and cultural context, where television content is increasingly fragmented. Given such a fragmentation, this thesis considers the ways contemporary television content is distributed in the interaction between algorithmic-driven recommendation processes and more traditional editorial practices. The aim of the project is to investigate the way certain narrative structures typical of the anthology form emerge in the context of U.S. television seriality, starting from specific conditions of production, distribution and consumption in the media industry. By focusing on the evolution (temporal, historical dimension) and on the digital circulation (spatial, geographic dimension) of U.S. anthology series, and observing the peculiarities in their production and style, as well as their distributional networks and the consumption patterns they foster, this thesis ultimately insert itself into a larger conversation on digital-cultural studies. The final purpose is to examine the relation between anthological forms, distribution platforms and consumption models, by proposing a comparative approach to the anthology that is at the same time cross-cultural, cross-historical, cross-genre and accounting for both pre- and post-digital practices for cultural content organization.
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Mateus, Felipe de Oliveira [UNESP]. "A cultura digital em pauta: análise do site youPIX." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/143800.
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Previous issue date: 2016-08-19<br>O desenvolvimento da Internet e das tecnologias digitais de comunicação favoreceu não apenas a consolidação de novos hábitos e valores culturais, como também o surgimento de novos espaços de divulgação e de acesso a informações. Esta pesquisa propõe um estudo da análise da cultura digital feita pelo site youPIX. Criado em 2006, o youPIX surgiu a partir de uma proposta de acompanhar e dar visibilidade midiática aos conteúdos e comportamentos surgidos a partir dos usos culturais da internet e suas tecnologias digitais. Em 2015, o site mudou sua linha editorial, propondo ser um analista desse universo cultural, compreendendo a ocorrência de seus fenômenos e implicações econômicas, sociais e culturais. Partindo dessa mudança editorial e da proposta do site de analisar a cultura digital, propõe-se realizar um estudo de como essas análises se enquadram no universo dos estudos aplicados em cibercultura, de forma a identificar quais os conceitos e valores trabalhados pelo site. Para tanto, servirão como bases teóricas autores que analisam o desenvolvimento das tecnologias digitais e seus fenômenos e sua expansão no cotidiano, além de um trabalho metodológico baseado em Análise de Conteúdo, que auxiliará na elucidação dos valores trabalhados pelo site em seus artigos publicados.<br>The development of the internet and of the digital technologies of communication favored not only the consolidation of new cultural habits and values, but also the appearance of new places of diffusion and access of information. This research proposes a study of the analysis of digital culture made by the site youPIX. Brought up in 2006, youPIX appeared based on a proposal of coverage and to give visibility in media to the contents and behaviors emerged by the cultural usage of the internet and its digital technologies. In 2015, the site has changed its editorial line, aiming to be an analyst of this cultural universe, understanding the occurrence of its phenomena and economic, social and cultural consequences. Based on this editorial change and on the new proposal of analyzing digital culture, we intend to do a study of how this analysis take place in the field of the studies in cyberculture, in a way that is possible to identify what are the concepts and values used by the site. For this purpose, it will be structured on authors that analyze the development of digital technologies, its phenomena and its expansion on quotidian, besides a methodological work based on Content Analysis that will help on the comprehension of the values used by the site on its published articles.
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Maletkovic, Maja. "Cultural institutions: Digital Interfaces and Virtual Presence." Thesis, Stockholms konstnärliga högskola, Institutionen för film och media, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-744.
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This essay deals with the relationship of cultural institutions and the digital age. With the COVID-19 crises serving as a backdrop to this research paper, the not-often-questioned ideas on what cultural institutions are are reassessed. With the backbone of cultural life being presented by the almost fifty percent of cultural workers who are self – employed, we first address a more accurate definition of what a cultural institution is, judging by the state of the industry. Following this, a clear and novel differentiation between digital interfaces and virtual presence that is possible in the realm of culture is made.These terms are coined in this paper due to the need to make these two both important and valid strategies more understandable. Making these distinctions clear in practice, numerous opportunities in the digital realm for cultural institutions are presented.
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ALVES, Cecilia da Fonte. "Cultura independente: conceitos e práticas dos jogos digitais indies." Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/17843.
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Previous issue date: 2016-01-26<br>CNPQ<br>Nos últimos anos o setor independente de jogos digitais cresceu exponencialmente,
recebendo reconhecimento do público, da imprensa e do mercado. Entretanto, a
conceituação de games independentes é apresentada na literatura através de um
complexo emaranhado de definições que divergem entre si. Esta pesquisa pretende
então compreender qual o sentido de independência no contexto de atividades culturais
e como ele se traduz no campo de jogos. Para tal, primeiramente será realizado um
estudo da cultura independente mais ampla que buscará perceber como se dá sua
conceituação, como ela se transforma com o passar dos anos e quais as ideias e práticas
que perpetua. Nesse momento, serão observados importantes cenários alternativos
(contracultura da déc. de 60 e Punk) assim como a produção de zines, publicações que
alimentam as comunidades indies. Esse estudo inicial - que tem o intuito de encontrar as
características comuns às manifestações independentes - servirá como base para a
análise posterior da produção independente de jogos que tem o objetivo de verificar
como os desenvolvedores praticam a independência. A pesquisa indica que o universo
de jogos descrito como indie é bastante amplo e heterogêneo, mas que nele, é possível
encontrar game designers que compartilham de muitos dos ideais e comportamentos
propagados pela cultura independente ao longo do tempo.<br>In recent years the independent game sector has grown exponentially, gaining
recognition from the audience, the press and the market. However, the concept of
independent games is presented in the literature through a complex maze of definitions
that differ from each other. This research aims to understand then what is the sense
behind the independence in cultural activities and how it translates on the game
industry. For that, at first, a study about the broad independente culture will be
conducted, which will seek to comprehend how its conceptualization is given, how it
changes over the years and what ideas and practices are perpetuated by it. At this
context, important alternative scenarios will be observed (the counterculture of the
sixties and the Punk movement), as well as the production of zines, publications that
feed the indie communities. This initial study - which intends to find the common
characteristics of the independent manifestations - will serve as a basis for the further
analysis of the production of indie games, that will have the purpose of seeing how
developers practice independence. This research indicates that the gaming universe
described as indie is broad and heterogeneous, but that it carries game designers who
share many of the ideals and behaviors spread by the independent culture over time
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Reis, Marlene Aparecida dos. "A inserção dos alunos de pedagogia na cultura digital em Pernambuco." Universidade Federal de Pernambuco, 2014. https://repositorio.ufpe.br/handle/123456789/16582.
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Previous issue date: 2014-12-10<br>A cultura digital é uma cultura individual, pessoal, de grupo, coletivo onde o sujeito é protagonista, autônomo e se permite ser autor e leitor da construção do seu próprio conhecimento, do conhecimento do outro e dos dois ao mesmo tempo. Partindo desse contexto é que pensamos o tema desta pesquisa “A inserção de alunos de Pedagogia na Cultura Digital”, por acreditarmos que o espaço acadêmico não pode estar desconectado destas constantes transformações. Assim, temos o seguinte problema: Como a inserção dos alunos do Curso de Pedagogia na Cultura Digital se reflete na apropriação para o uso pedagógico dos recursos digitais, em Pernambuco? E consideramos como hipótese que apesar da apropriação de elementos da Cultura Digital por parte desses alunos, existe uma relação limitada entre esta inserção e a perspectiva de apropriação para o uso pedagógico, porém, de forma incipiente em relação aos recursos educativos digitais. Escolhemos esta temática a partir das inquietações no trabalho docente e convívio intenso nesse cenário nos últimos seis anos, além do debate sobre a formação do professor no contexto educacional e na sociedade. Como objetivo geral esta pesquisa pretende analisar a relação entre a inserção dos alunos do Curso de Pedagogia de três Instituições de Ensino Superior de dois estados brasileiros na Cultura Digital e a apropriação de recursos digitais numa perspectiva de uso pedagógico. Evidenciamos que o tema desta pesquisa aborda uma questão contemporânea no tocante as discussões em relação à inserção da Cultura Digital dos alunos de Pedagogia e neste sentido buscamos nossa fundamentação teórica com o suporte dos autores Castells (2003), Lemos (2009; 2013), Pretto (2008), Moraes (1997), Moran (2000), entre outros que deram suporte teórico a nossa pesquisa. Como objetivos específicos mapeamos o uso de recursos da Cultura Digital dos alunos de Pedagogia; Relacionamos a inserção da Cultura Digital com a perspectiva de atuação docente; Analisamos as condutas e mediações que ocorrem no contexto da Cultura Digital entre os alunos de Pedagogia. O percurso metodológico utilizado nesta pesquisa são os métodos mistos, de natureza qualitativa e quantitativa, do tipo descritiva com o enfoque culturalista, que nos possibilita um olhar no cotidiano com um mergulho no microssocial. Utilizamos questionários semiestruturado com cento e vinte quatro estudantes de pedagogia. Após análise dos questionários selecionamos dois discentes que responderam que utilizavam em suas práticas pedagógicas recursos digitais. A pesquisa está organizada em quatro capítulos. No primeiro abordamos a Cultura Digital na formação de pedagogo no século XXI. O segundo traz a discussão da Web 2.0 e a atuação docente. No terceiro apresentamos nossa metodologia e no quarto temos a Apresentação e análise dos resultados. Os resultados dos questionários mostram que 103 (cento e três) dos discentes que responderam que trabalham ou trabalharam em sala de aula, 28 (vinte e oito) discentes disseram não utilizam/utilizaram nenhuma tecnologia em sala de aula, 71 (setenta e um) disseram que sim e 4 (quatro) não responderam à pergunta. Os equipamentos mais citados foram DVD, computador-notebook-netbook e TV respectivamente.<br>Digital literacy is an individual, personal, group, collective culture where the subject is the protagonist, autonomous and allows himself to be both the author and the reader of the construction of their own knowledge, the knowledge of the other and both at the same time. From this context, we chose the theme of this research to be "Entering students of Pedagogy in Digital Culture in Pernambuco," because we believe that the academic space can not be disconnected from these constant changes. Thus we have the following problem: How is the integration of students of Pedagogy in Digital Culture reflected in the appropriation for the pedagogical use of digital resources in Pernambuco? And we consider the hypothesis that despite the appropriation of elements of Digital Culture by these students, there is a limited relationship between this insert and the prospect of appropriation for pedagogical use, however, incipiently in relation to digital educational resources. We chose this theme from concerns in teaching and convivial setting in the last six years, and the debate on teacher education in educational settings and society. As a general objective, this research aims to analyze the relationship between the inclusion of students of Pedagogy in Pernambuco in Digital Culture and the appropriation of digital resources from the perspective of pedagogical use. It is evident that the theme of this research addresses a contemporary issue regarding the discussions on the insertion of the Digital Culture of students of pedagogy and in this sense we seek our theoretical framework with the support of the authors Castells (2003), Lemos (2009), Pretto (2008), Moraes (1997), Moran (2000), among others that will give theoretical support to our research. As specific objectives, it aims to: Map resource usage of the Digital Culture of Pedagogy students in Pernambuco’s perspective; Relate the inclusion of Digital Culture at the prospect to teaching performance; Analyze the behavior and mediations that occur in the context of digital culture among students of Pedagogy. The methodological approach used in this research are mixed methods, both qualitative and quantitative, of the descriptive type with the culturalist approach, which allows us to look into the everyday with a dip into the microsocial. The research is organized into four chapters. In the first, we approach the Digital Culture of teacher training in the XXI century. The second brings the discussion of Web 2.0 and the teaching performance. Present our methodology in the third and fourth have the presentation and analysis of results. The results of the questionnaires showed that 103 (one hundred and three) of students who responded that work or have worked in the classroom, 28 (twenty eight) students said they use / used no technology in the classroom, 71 (seventy one) said yes and four (4) did not answer the question. The most commonly cited were DVD equipment, computer-notebook-netbook and TV respectively.
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Nascimento, Selma Maria Silva do. "Formação de professores na cultura digital : construção de comcepções de uso das tecnologias na escola e a produção coletiva de propostas de ações para sua integração ao currículo." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/172471.
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A formação de professores na cultura digital traduz a necessidade de investigarmos como esse processo vem ocorrendo atualmente no campo da educação. Neste contexto, esta tese teve como objeto de estudo a formação de professores na cultura digital e objetivou analisar como ocorreu o processo de construção de concepções de uso pedagógico das tecnologias na escola e a produção coletiva de propostas de ações para a sua integração ao currículo, a partir das interações interindividuais dos professores no curso de especialização Educação na Cultura Digital. O curso objetivou oferecer formação continuada aos professores e gestores da rede pública de educação para a integração criativa e crítica das Tecnologias Digitais de Informação ao currículo da educação básica. Fundamentou-se teoricamente a partir das leituras contemporâneas em torno da expansão das tecnologias digitais e seu uso pedagógico. A base teórica que deu sustentação a análise da construção de concepções e das trocas interindividuais havidas entre as alunas-professoras, se constituiu a partir da Teoria de Jean Piaget, por meio da qual discutimos e exploramos os referenciais teóricos relativos a tais processos. Para fins de pesquisa, foram analisados os dados relativos à formação dos professores cursistas da Universidade Federal de Roraima. Os dados da pesquisa foram organizados e categorizados no software Nvivo. A análise dos dados foi realizada por meio da síntese cruzada dos dados, conforme Yin (2015), dentro de uma abordagem qualitativa, o que possibilitou compreender a construção de concepções e a produção coletiva de propostas para integração das tecnologias aos currículos, buscando perceber como esse processo foi concebido e vivenciado pelos professores em formação, dando visibilidade aos processos de interação estabelecidos no decorrer do curso.<br>The teacher formation in the digital culture translates the necessity of investigating how this process is occurring currently in the field of education. In this context, this thesis had as goal of study the teacher education in digital culture and aimed to analyze how the process of construction of conceptions of pedagogical technology use in school and the collective production of proposals of actions for their integration to the curriculum occured, starting from the interindividual interactions of teachers in the course of especialization Education in Digital Culture. The course aimed to offer continued training to teachers and managers from the public education network for the creative and critical integration of the Digital Technologies of Information to the curriculum of basic education. It based itself theoretically starting from the contemporary readings around the expansion of digital technologies and their pedagogical use. The theoric basis that gave support to the analysis of the construction of conceptions and interindividual exchanges between the student-teachers, constituted itself from the Theory of Jean Piaget, by which we discussed and explored the theoretical references relative to the processes. To research ends, data relative to the education of teacher students of the Federal University of Roraima were analyzed. The data of the research were organized and categorized in the Nvivo software. The data analysis was realized by the cross syntesis of data, according to Yin (2015), inside a qualitative approach, which made possible the comprehension of the construction of conceptions and the collective production of proposals for the integration of technologies to the curriculum, searching to perceive how this process was conceived and lived by the teachers in formation, giving visibility to the processes of interation, established during the course.
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Cabrera, Vergara Cristian Jesús, and Bravo Solange Beatriz Castillo. "Análisis de los principales factores que permitieron desarrollar una eficiente transformación digital en las principales empresas del sector banca múltiple peruano." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/650437.
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Las organizaciones reconocen la necesidad de cambiar el modelo de negocio tradicional por uno cada vez más digital y ágil. Por ello, han empezado a transformarse digitalmente, buscando ser más competitivos en un entorno cambiante. Sin embargo, este proceso es relativamente nuevo, y en el Perú son pocos los que han logrado implementarlos positivamente. Por ello, cada vez hay más empresas que reconocen la necesidad de transformarse, pero que desconocen cómo hacerlo.
Esta investigación comprende la recopilación bibliográfica, realización de entrevistas, procesamiento de encuestas a los 4 principales bancos, y el análisis estadístico de los resultados para desarrollar estimaciones que permitirían conocer los principales factores que pudieron priorizarse para tener un desarrollo eficiente en este proceso. Esta investigación reúne información y analiza las percepciones de sus trabajadores para realizar estimaciones exploratorias acerca de los factores que permiten obtener un desarrollo eficiente de transformación digital.
Se realizaron entrevistas a expertos de diversos sectores y a 4 trabajadores del sector bancario. Finalmente, se realizaron 70 encuestas, de los cuales 59 fueron válidas para su procesamiento. Sin embargo, debido a las limitaciones de tiempo y confidencialidad, no se pudo obtener un tamaño mayor, impidiendo hacer un análisis concluyente a nivel estadístico que pudiera extrapolarse el resto de las empresas.
Finalmente, se identificaron 2 enfoques que permiten obtener un desarrollo eficiente en el proceso de transformación: centrarnos en el cliente y colaborador, tomando en cuenta las limitaciones externas e internas durante proceso y reconociendo el objetivo o razón que los lleva al cambio.<br>Organizations recognize the need to change the traditional business model for a more digital and agile one. Therefore, companies have begun to transform digitally, seeking to be more competitive in a changing environment. However, this process is relatively new, and in Peru few have managed to implement it positively.
This research includes bibliographic compilation, interviews, processing surveys to workers of the 4 main banks in Peru, and the analysis to develop statistical estimations that could make us recognize the main factors that should be prioritized to have an efficient development in their digital transformation process. By this way, this research collect data from the main banks in Peru and analyze opinions and perceptions of their employees in order to make exploratory and descriptive estimates about the process.
Research considered interviews of experts from different sectors, including members of the analyzed banks and finally 70 surveys were carried out, of which 59 were validated for processing. However, due to the time and confidentiality limitations, it was not possible to reach a larger sample size, so it did not allow us to make a conclusive analysis at a statistical level that can be used as a model for the other companies.
Finally, two approaches were identified in the investigation in order to obtain an efficient development of the transformation process: putting the client and the collaborator as center, considering limitations in the process and recognizing the objective that leads the change.<br>Tesis
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Marchesi, Mariana de Toledo. "A roda em rede: as transformações culturais da capoeira nos ambientes midiáticos digitais." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-13122012-144628/.
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Essa pesquisa tem como objetivo principal investigar a influência da mídia digital nos processos de reprodução e transformação da capoeira, entendida como uma cultura tradicional contemporânea, glocal, digital e em rede. No percurso teórico, procuramos elaborar uma abordagem não convencional da relação entre o homem e a técnica, preferindo a visão simbiótica à dicotômica. Essa visão leva ao entendimento das mídias como ambientes de poiese cultural, e não como simplesmente como meios que veiculam conteúdos já prontos. Por outro lado, buscamos desenvolver uma abordagem menos essencialista e conservadora das dinâmicas culturais, especialmente no tocante às culturas afro-americanas das quais a capoeira faz parte. A partir desse olhar, procuramos conhecer os deslocamentos da capoeira nos ambientes digitais, seguindo seus deslocamentos pelas redes, a partir de uma reflexão metodológica sobre a pesquisa em contextos reticulares. Assim, mergulhamos no circuito, interagindo com paisagens digitais e atores-rede. O produto desta pesquisa é um conjunto de relatos de imersão interagente e partir de oito experiências distintas porém entrelaçadas, a partir das quais podemos entrever algumas respostas às principais perguntas da pesquisa: qual a relação entre a globalização e a digitalização da capoeira? Como a capoeira se transforma nesse novo ambiente midiático? O que impulsiona a sua digitalização? O digital é o novo local da cultura?<br>This research investigates the influence of digital media on reproduction and transformation processes concerning capoeira, seen here as a traditional, contemporary glocal, digital and connected culture. On our theoretical path, we seek to elaborate an unconventional approach in relation to mankind and its techniques, focusing more on its symbiosis and less on dichotomies. This leads us to see media as cultural poiesis environments, and not only as a communication medium with already-made contents. However, we aim to develop an approach less essentialist and conservative on our discussion about cultural dynamics, especially concerning Afro-American cultures such as capoeira. From this point of view, we try to discover how capoeira practices go through digital environments, following its displacements on networks. In the same time, we reflect on the possibility of a research methodology on reticular contexts. In this sense, we float through a circuit of interaction on digital landscapes with net-actors. The product of this research is a collection of immersive interactive reports based on eight experiences which are separate but interconnected. These experiences may help us to answer our main questions: what is the relation between globalization and capoeira digitalization? How is capoeira being transformed in this new media environment? What drives its digitalization? Is digital media the location of culture?
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FARIAS, Romerita Silva. "Olhar digital: a mensagem dos jovens na produção de vídeos do Proi-Digital." Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/18003.
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Submitted by Irene Nascimento (irene.kessia@ufpe.br) on 2016-10-18T16:55:06Z
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Previous issue date: 2016-02-26<br>CAPES<br>O que comunicam e quais as mensagens de jovens anônimos e leigos na
linguagem do audiovisual, participantes das oficinas do Programa de Extensão
da Universidade Federal de Pernambuco (UFPE), Proi-Digital, em execução
desde 2010? Partindo do questionamento acima, esta pesquisa do tipo
descritiva busca analisar as produções de vídeo, de jovens participantes de
oficinas do Programa de Extensão, que ocorrem no interior de escolas
públicas, no que se refere às mensagens que eles comunicam nessas
produções e suas expressões de reflexão e crítica. Nesse sentido, o aporte
teórico discute o universo juvenil, assim como explora os campos da
comunicação, da educação e da cultura visual, utilizando como referências
Martin-Barbero (1997), Hernández (2011), Penteado (1998), Belloni (2001) e
Orofino (2005). A metodologia de natureza qualitativa é baseada no que
preconiza Minayo (2001). Com mais de 18 vídeos produzidos, nesses quatro
anos de Programa, para a amostra da pesquisa, foram analisados apenas 04
vídeos, os quais foram produzidos para as pesquisas realizadas nos anos de
2012 e 2013 com metodologias distintas. A análise desse material está
contemplada em dois grupos de dados. O primeiro são os vídeos com a análise
textual como modalidade fílmica, com ênfase na análise fílmica e a análise
textual discursiva. O segundo, as entrevistas com a análise textual discursiva.
Na análise dos resultados percebemos a mediação como um elemento forte e
colaborador para o desenvolvimento da criticidade dos jovens participantes das
oficinas de vídeo. Os vídeos foram um canal para os jovens exporem suas
ideias, seus anseios, um meio para falar do seu cotidiano. Uma mensagem
com um tom de crítica, de denúncia e de reflexão.<br>The audio-visual language and messages passed from anonymous,
inexperienced and young participants has communicated what in the Officine
Pro-digital postgraduate programme from the University Federal of
Pernambuco, running since 2010? Taking into consideration what is asked
above, this descriptive research aims to analyse all the videos produced which
cover youth participants from the postgraduate Officine programme. These
recorded videos illustrate what happens inside state schools, by verbalising
messages of the chosen students, and express their criticisms and reflections.
With this in mind, the theoretical contribution of this project brings into debate
the juvenile universe, by exploring the fields of communication, education, and
visual culture, based on past authors‘ references: Martin-Barbero (1997),
Belloni (2001), Hernández (2011), Orofino (2005) and Penteado (1998). The
methodology of qualitative nature is based on what Minayo, (2001) advocates.
Having more than 18 videos produced during this four-year programme, as a
means of research, only 4 videos were subsequently chosen and recorded for
research purposes over the period 2012 to 2013 with distinct methodologies.
The analyses of these recording materials are arranged into two data groups.
The first is on videos with textual analysis with filmic modality, with an emphasis
on filmic analysis and discursive textual analysis. The second data analysis
focuses on the interviews with discursive textual analysis. In the analysis of the
results, the authors realise the mediation as a strong element and collaborator
in the development of the criticality of the young participants of the Officine
videos. The videos came as a communication channel for the youths to express
their ideas and agonizing, as well as an opportunity to express their daily lives.
This paper brings an important message with critical tones, complaints and
reflections.
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Nakamura, Mariany Toriyama. "ポップカルチャ(poppu karuchaa): mediações da cultura pop nipo-brasileira no cenário digital." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27151/tde-17092018-174623/.
Full textAbstract:
Este trabalho tem como objetivo abordar a presença da cultura pop nipo-brasileira nos meios digitais através de expressões culturais dos fãs brasileiros de mangás e animês (histórias em quadrinhos e animações japonesas, respectivamente), moda e prática cosplay, cujos conteúdos são compartilhados na internet. Desde sua inserção no Brasil, a cultura pop japonesa esteve relacionada às tecnologias de comunicação e às atividades de fãs brasileiros engajados com aquilo que consumiam. A passagem para as mídias digitais provocou mudanças nas configurações socioculturais, em que o indivíduo participa ativamente na rede, desenvolvendo maneiras distintas de uso e apropriações desses ambientes, o que consequentemente expande o campo de atuação dos fãs. Esses são considerados indivíduos que não apenas se contentam com o que recebem (apropriação passiva); mas, de maneira participativa, produzem conteúdos a respeito do universo ficcional de que são entusiastas. Este trabalho teve como processos metodológicos o estudo exploratório fundamentado em pesquisa bibliográfica dos conceitos relacionados aos avanços das tecnologias de informação e comunicação e os espaços emergentes da rede, transmídia, convergência e participação, bem como a conceitualização das expressões da cultura pop nipo-brasileira que figuram como objeto de estudo desta pesquisa. Utilizou-se também de observação do campo para levantamento de casos mais recentes de projeção das atividades do público da cultura pop japonesa no Brasil no cenário digital. Assim, diante deste cenário, considerou-se que, embora problemáticos para o âmbito da Ciência da Informação, os novos processos de comunicação e mediação cultural no cenário digital devem ser repensados, uma vez que são processos essenciais para o exercício das apropriações de expressões culturais de usuários na rede. Trabalhar em favor do acesso, produção, circulação e qualidade dessas expressões traz o sentido de pertencimento de um grupo, chave para a constituição da cultura nipo-brasileira.<br>The main object of this research is to show the presence of Nipo-Brazilian pop culture in digital media through cultural expressions by the Brazilian fans of manga and anime (Japanese comics and animation, respectively), fashion and cosplay practice that are shared over the internet. Since its insertion in Brazil, Japanese pop culture was related to communication technologies and to the activities of Brazilian fans that were engaged with what they consumed. Digital media produced changes in social configurations, in a way that the individual has an active role on the web, developing different ways of using and appropriating such environments, and that, consequently, expands the fans\' field of action. These are individuals that not only do not feel satisfied with what they receive (passive appropriation); in a participative manner, they produce content based on their favorite fictional universes. As a methodological approach, this work adopted an exploratory method, based on bibliographic research of the concepts related to the advancements of information and communication technologies and the emerging spaces on the web, transmedia, convergence and participation, as well as the conceptualization of Nipo-Brazilian culture\'s expressions that are the subject of this research. An observational method was also adopted to show the most recent occurrences of the prominence of the Nipo-Brazilian pop culture public in the digital scenario. This way, in face of such scenario, we considered that, although they raise problems in the area of Information Sciences, the new communication and cultural mediation processes in the digital scenario must be rethinked, since they are essential processes for the appropriation of web users\' cultural expressions. Working to promote access, production, flow and quality of such expressions brings a sense of belonging to a group, the key to the constitution of Nipo-Brazilian culture.
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Hennessy, Kate. "Repatriation, digital technology, and culture in a northern Athapaskan community." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/27055.
Full textAbstract:
Many Canadian First Nations and Aboriginal organizations are using digital media to revitalize their languages and assert control over the representation of their cultures. At the same time, museums and academic institutions are digitizing their ethnographic collections to make them accessible to originating communities. As the use of digital media becomes standard practice both in the production of ethnographic objects and the “virtual repatriation” of cultural heritage, new questions are being raised regarding copyright, intellectual property, ownership, and control of documentation in digital form. In this dissertation, based on collaborative ethnographic multimedia production work with the Doig River First Nation (Dane-ẕaa) in northeastern British Columbia, I follow the transformation of intangible cultural expression into digital cultural heritage, and its return in the form of a digital archive to Dane-ẕaa communities. I explore how new access to digitized ethnographic documentation has facilitated local media production, and argue that these productions are acts of remediation of digital cultural heritage that resignify the products of ethnographic research in Dane-ẕaa communities. Through the lens of the collaborative production of the Virtual Museum of Canada exhibit Dane Wajich–Dane-ẕaa Stories and Songs: Dreamers and the Land, I show how local control over efforts to safeguard intangible heritage resulted in the implementation of a documentary methodology that modeled the appropriate transmission of culture in Dane-ẕaa social practice. The participatory production process of the virtual exhibit also facilitated expressions of Dane-ẕaa intellectual property rights to cultural heritage. Using the example of the digitization of photographs of early twentieth-century Dane-ẕaa nááchę (dreamers’) drums, and the community’s subsequent decision to remove them from the virtual museum exhibit, I explore how new articulations of Dane-ẕaa rights to control the circulation and representation of their digital cultural heritage are guided by knowledge of Dane-ẕaa nááchę, traditional protocols for the handling and care of material culture, and by contemporary political concerns and subjectivities.
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Jonson, Ben. "Design ideation : the conceptual sketch in a digital design culture." Thesis, Goldsmiths College (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415011.
Full text
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Davis, Adam M. "Image Bodies, Avatar Ontologies: Rendering the Virtual in Digital Culture." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/dissertations/620.
Full textAbstract:
In 2009 five avatar-themed films were released, one of which became the highest grossing film to date, signaling that in addition to their popularity in videogames and virtual worlds, avatars are culturally salient figures which demand scholarly attention. Avatars, virtual environments, and user behavior have evolved significantly since virtual reality captured public and academic attention at the close of the twentieth century, and this dissertation is an attempt to theorize the avatar in contemporary digital culture. By interlacing new media philosophy and analyses of cinematic texts I situate the avatar at the nexus between digital images and interactive bodies, with implications for both cinema and virtual environments. Avatarial interfaces position users in an embodiment of connections which in some ways evokes the cyborg body, but the avatar as a theoretical figure places greater stress on the relation between human embodiment and (digital) images, as well as suggesting a move from cyborg fragmentation toward an avatarial gestalt. Avatars are also fruitful bodies for thinking through agency and gender in contemporary society, and engaging the lost `body' of the picture as film has been supplanted by digital imagery. In this regard, virtuality, as a conceptual state pertaining to images, embodiment, technology, and philosophy, serves as the connective theoretical tissue linking bodies and images. Ultimately, in this dissertation I employ the avatar in an exploration of the ways in which we are already virtual, and how we have become avatarial in our own skin.
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Hampton, Darlene Rose 1976. "Beyond resistance: Gender, performance, and fannish practice in digital culture." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11070.
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x, 160 p. : ill. (some col.)<br>Although the web appears to be a welcoming space for women, online spaces--like offline spaces--are rendered female through associations with the personal/private, embodiment, or an emphasis on intimacy. As such, these spaces are marked, marginalized, and often dismissed. Using an explicitly interdisciplinary approach that combines cultural studies models with feminist theory, new media studies, and performance, Beyond Resistance uses fandom as a way to render visible the invisible ways that repressive discourses of gender are woven throughout digital culture. I examine a variety of online fan practices that use popular media to perform individual negotiations of repressive ideologies of sex and gender, such as fan-authored fiction, role-playing games, and vids and machinima--digital videos created from re-editing television and video game texts. Although many of these negotiations are potentially resistive, I demonstrate how that potential is being limited and redirected in ways that actually reinforce constructions of gender that support the dominant culture.
The centrality of traditional notions of sex and gender in determining the value of fan practices, through both popular representation and critical analysis, serves as a microcosm of how discourses of gender are operating within digital culture to support the continued gendering of the public and private spheres within digital space. This gendering contributes to the ongoing subordination of women under patriarchy by marginalizing or dismissing their concerns, labor, and cultural tastes.<br>Committee in charge: Priscilla Ovalle, Chairperson;
Kathleen Karlyn, Member;
Michael Aronson, Member;
Kate Mondloch, Outside Member
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Kimber, Kay D. "Technoliteracy, teacher agency and design: Shaping a digital learning culture." Thesis, Queensland University of Technology, 2002. https://eprints.qut.edu.au/36677/1/36677_Digitised%20Thesis.pdf.
Full textAbstract:
Despite educational directives advocating the integrated use of technology, some staff remain resistant to the adoption of computer-mediated classroom practice. As resistance is sometimes akin to lack of confidence or understanding, this thesis sought to illuminate the nature of work for teachers and students in a digital environment. It reports on a descriptive and interpretive case study on the classroom experiences of teachers and senior secondary school students in two humanities subjects where technology use was integrated with literacy practices for learning (technoliteracy). Findings suggest that there is a role for technology in the learning process and that student learning might be enhanced by constructivist-based, computer-mediated activities. These findings seem to confirm the important role of teacher agency in designing classroom experiences that capitalise on the potential of new technologies of communication for effective student learning.
Furthermore, this thesis has synthesised key ideas from constructivism, educational technology and learning theory with study findings to generate a supportive framework that might encourage techno-reluctant teachers to engage productively with technology in meaningful ways. It develops a grounded model for technoliteracy that gains its dynamism from the notion of design. With its related constructs of "teacher-as-designer" of classroom digital learning environment and "students-as-designers" of electronic representations of knowledge, this model suggests a purposeful integration of technology and literacy practices towards a more critical appreciation of subject content. The thesis also offers practical guidelines for applying constructivist principles to promote technoliteracy and a digital learning culture. The evaluative criteria developed from the SOLO Taxonomy and specially designed for analysing the student-created electronic artefacts also offer possibilities for reconceiving the choice of texts, activities and assessment for students of the 21st century.
From the theoretical and practical perspectives shaping this study, this thesis could prompt other teachers to imagine new possibilities for digital learning and to pioneer new models for teaching and learning in increasingly borderless classrooms in the knowledge age. It could encourage techno-reluctant staff to engage in computer-mediated learning practices.
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Ramos, Daniela Osvald. "Formato: condição para a escrita do jornalismo digital de bases de dados. Uma contribuição da semiótica da cultura." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-23092011-180325/.
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Esta tese é um estudo teórico sobre como o formato serve de estrutura para as linguagens digitais, que são escritas com o signo informático. Usamos as ferramentas teóricas da Semiótica da Cultura para explorar esta hipótese com os textos digitais de informação jornalística. A noção do design é central para a compreensão dos nossos argumentos, no sentido de que o design é que torna a operação da escrita digital possível. Isso ocorre pela sua capacidade em atribuir modelos para as diversas ordens de códigos envolvidos no processamento informático de síntese. Temos a perspectiva de que o Jornalismo Digital de Bases de Dados (JDBD) é um texto da cultura que se atualiza tendo como princípios a representação numérica, modularidade, automatização, variabilidade e transcodificação. Seu limite são os bits, ou números. Discutimos também a noção de delimitação do texto jornalístico, considerada necessária em tempos de dúvidas sobre o campo. Fazemos um resgate sobre a importância da noção de formato para o campo do jornalismo e fundamentamos que as narrativas digitais, elaboradas com as linguagens digitais, se apresentam a nós como formatos. Para nos apropriarmos da teoria e aplicarmos os conceitos na prática, sugerimos duas matrizes para a geração de formatos jornalísticos. Tal condição de escrita gera novas condições práticas para o ensino e a sobrevivência do jornalismo. Finalmente, buscamos nesta pesquisa uma visão estrutural, e não circunstancial, sobre as linguagens, as narrativas e a escrita digitais.<br>This thesis is a theoretical study on how the format structures the digital languages, which are written with the informatics sign. We used the theoretical tools of the Semiotics of Culture to explore this hypothesis with the digital text of journalistic information. The notion of design is central to the comprehension of our arguments, in the sense that the design is what makes the operation of digital writing possible. This is due to its ability to assign models to the different sort of codes involved in the informatic processing of synthesis. We have the prospect that the Database Digital Journalism (DBDJ) is a text of culture that is updated having as principles the numerical representation, the modularity, the automatization, the variability and the transcoding. Its limits are the bits or numbers. We also discuss the notion of delimitation of the journalistic text, considered necessary in times of doubt about the field. We do a rescue on the importance of the concept of format to the field of journalism and we support that digital narratives, developed with the digital languages, are presented to us as formats. In order to appropriate the theory and apply the concepts in practice, we suggest two sources for the generation of journalistic formats. Such writing condition generates new conditions for teaching practices and the survival of journalism. Finally, we aim in this research a structural, not circumstantial, view about the languages, the narratives and the digital writing.
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Fortunato, Marcia Vescovi. ""Autoria sob a materialidade do discurso"." Universidade de São Paulo, 2003. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-13022004-190509/.
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Esta dissertação discute o fenômeno da autoria compreendido como procedimento que organiza e controla o discurso, conceito extraído da obra de Foucault e suas possíveis relações com a natureza material do discurso. Analisa os meios através dos quais os discursos ganham corpo, as modificações culturais que eles introduziram na cultura ocidental e os procedimentos de autoria que esses mesmos meios justificam. Descreve a autoria sob as culturas oral, manuscrita, impressa e digital e investiga a relação entre a materialidade de que se reveste o discurso e alguns procedimentos de autoria observados. Conclui que, dentre os procedimentos gerados por fatores sociais, históricos e ideológicos que compõem o contexto de produção mais amplo do discurso, há procedimentos de autoria que só podem ser compreendidos no âmbito da cultura midiática em que o discurso se produz.<br>This dissertation discusses the authorship phenomenon - understood as a procedure that organizes and controls the discourse, a concept extracted from Foucault's work - and its possible relations with the material nature of the discourse. It analyses the media through which discourses reach consistency, the cultural modifications they have introduced in the ocidental culture and the procedures of authorship these very media justify. It describes authorship under oral, handwritten, printed and digital cultures and investigates the relationship between the materiality that overlays the discourse and some procedures of authorship observed. It concludes that, among the procedures generated by social, historical and ideological factors that compose the wider context of discourse production, there are authorship procedures that can only be understood in the ambit of the mediatic culture in which the discourse is produced.
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Drska, Andreia Borges de Godói. "De interagido a interagente: a construção de um espaço virtual de autoria em uma escola estadual paulista." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21662.
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Previous issue date: 2018-09-17<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This study is a part of the “New Technologies in Education” research line of the Master’s Degree Program in Education: Curriculum of the Pontifícia Universidade Católica de São Paulo. The purpose of this study is to do a reflection about digital inclusion as one of the dimensions of social inclusion, seeking to highlight ways that favor the interacting profile of individuals in the context of digital culture. The study, carried out at public school in the city of São Paulo, presents the school pedagogical proposal analysis, the experience report of a virtual space creation for the school and the results of a questionnaire related to the user profile of the DICTs (Digital Information and Communication Technologies) which was applied to the school students involved in the project. It is important to point out that these students are considered socially vulnerable by the socioeconomic government parameters and by the school itself. By this, beyond the context analysis, this study seeks to emphasize the role of the school in the digital inclusion of young students in a context of social vulnerability, since in the Network Society (Castells), this participation is a sine qua non condition for a person to be, in fact, included. Besides that, the study aims to a progressive construction of a knowledge that can be shared, based on the integral education theory of Paulo Freire, the Network Society of Castells and the discussion about the school role in the Bourdieu’s process of social inclusion, this study records, narrates and analyzes the construction of an internet space (blog) in a public school of the city of São Paulo. The study is contextualized under the aegis of digital culture and the fact that, in contemporary society, it is possible to see a shift from the socializing space of the school to the media. The study results find out that the inclusion in digital culture, one of the dimensions of social inclusion, requires a favorable environment for the individual to recognize and identify himself as a citizen that have a word of his own (MARTÍN-BARBERO). Therefore, being included in the digital culture requires the citizen to be able to critically read and put his words (FREIRE) in the context of this culture and its tools (ALMEIDA; SILVA). Although there is a shift from the socializing context of the school to the media, the school institution remains fundamental for the citizen to be interacting in the digital culture, especially for those who are socially vulnerable. For this, it must offer a democratic space for teaching, a curriculum that integrates DICTs in a critical way and public policies that guarantee access. Among the results of the observation, it was verified that the inclusion in the digital culture is not part of the molded curriculum or in action of the investigated school. There is evidence to suggest that the school itself is on the margins of digital culture<br>Esta pesquisa insere-se na linha de pesquisa Novas Tecnologias na Educação, do Programa de Pós-Graduação em Educação: currículo da Pontifícia Universidade de São Paulo. O estudo tem por objetivo refletir sobre a inclusão digital como uma das dimensões da inclusão social, buscando destacar caminhos que favoreçam o perfil interagente do sujeito no contexto da cultura digital. A investigação, realizada em uma escola estadual da capital paulista, apresenta a análise da proposta pedagógica da unidade, o relato da experiência da criação de um espaço virtual de autoria e os resultados de um questionário sobre o perfil de utilização das TDIC, realizado com os jovens envolvidos no projeto. Destaca-se o fato de tratar-se de sujeitos considerados socialmente vulneráveis pelos sensos e pela própria escola. Para além de analisar o contexto, esta investigação busca enfatizar o papel da escola na inclusão digital dos jovens em situação de vulnerabilidade, uma vez que na Sociedade em Rede (Castells), esta participação é condição sine qua non para que o sujeito esteja, de fato, incluído. Além disso, como pesquisa participante, busca-se a construção progressiva de um saber que poderá ser compartilhado. Partindo da teoria da educação integral de Paulo Freire, da Sociedade em Rede de Castells e da discussão sobre o papel da escola no processo de inclusão social de Bourdieu, esta dissertação registra, narra e analisa a construção de um espaço de autoria (blog) em uma escola estadual na periferia do município de São Paulo. A pesquisa está contextualizada sob a égide da cultura digital e o fato de, na sociedade contemporânea, constatar-se um deslocamento do espaço socializador da escola para as mídias. O principal resultado da pesquisa foi a constatação de que a inclusão na cultura digital, uma das dimensões da inclusão social, prescinde de um ambiente favorável para que o indivíduo se reconheça como sujeito e se identifique como portador de uma palavra própria (MARTÍN-BARBERO). Portanto, estar incluso na cultura digital, prescinde de o sujeito estar capacitado para ler criticamente e colocar no mundo suas palavras (FREIRE) no contexto desta cultura e das suas ferramentas (ALMEIDA; SILVA). Ainda que haja o deslocamento do contexto socializador da escola para as mídias, a instituição escolar segue sendo fundamental para que o sujeito seja interagente na cultura digital, especialmente para aqueles que se encontram socialmente vulneráveis. Para tanto, precisa oferecer um espaço democrático de ensino, um currículo que integre as TDIC de forma crítica e políticas públicas que garantam o acesso. Entre os resultados da observação, constatou-se que a inclusão na cultura digital não faz parte do currículo moldado ou em ação da unidade de ensino investigada. Há indícios que sugerem que a própria escola está à margem da cultura digital
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Almamari, Mohammed R. H. "The Role of Organisational Culture in Digital Government Implementation. Exploring the Relationship between Public Sector Organisational Culture and the Implementation of Digital Government in Oman." Thesis, University of Bradford, 2016. http://hdl.handle.net/10454/15709.
Full textAbstract:
Organisational culture plays an important role in the success of the adoption of technology and the development of the organisation; therefore, it is very important to understand how organisational culture impacts the process of implementing technology, either positively or negatively. The aim of this study is to explore the role of organisational culture in digital government implementation in Omani public sector organisations. This study used mixed methods as a research methodology. In the qualitative phase, semi-structured interviews were conducted with top and middle management and at operational levels in the Omani public sector organisations. In the quantitative phase, a survey was distributed to employees within the public sector organisations to build on the findings of the first stage and develop an understanding of the relationship between organisational culture and implementation of digital government in Oman. This study found that there is a relationship between organisational culture and digital government implementation. It was found that the type of organisational culture has some impact on the digital government implementation as it was found that the organisations with the clan culture type had low levels of implementation of digital government whereas, organisations with the hierarchy culture type had high levels of implementation. Moreover, the study found that middle managers in public sector organisations in Oman had a critical impact on the digital government implementation.
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Pellegrini, Paulo Augusto Emery Sachse. "RECEPÇÃO NA CULTURA DIGITAL: o caso da música desmaterializada." Universidade Federal do Maranhão, 2012. http://tedebc.ufma.br:8080/jspui/handle/tede/29.
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Previous issue date: 2012-12-19<br>This research achieves a study of reception of the dematerialized music, based on Cultural Studies, in the environment of the digital culture and the late modernity. It understands the dematerialized music as the music which migrates from physical supports (LP, CD, K7, DVD) to the virtual environment. It applies a form envolving 76 listeners in order to comprehend how they deal with such music, from the point of view of the technologies used by them and the habits and perceptions developed in their reception. It presents the cultural industry as a condition of the rising of the materialized music, from which it is dematerialized. It lists the main reception theories. It problematizes the digital culture in its potentialities and contradictions. It discusses the download culture. It raises reflections about the crisis of the phonographic industry and the dematerialization of the music at the late modernity scenario.<br>Este trabalho realiza um estudo de recepção da música desmaterializada, com base nos Estudos Culturais, nos ambientes da cultura digital e da modernidade tardia. Entende como música desmaterializada a música que migra dos suportes físicos (LP, CD, K7, DVD) para o ambiente virtual. Aplica um questionário a 76 ouvintes para compreender como lidam com tal música, do ponto de vista das tecnologias utilizadas e dos hábitos e percepções desenvolvidos em sua recepção. Apresenta a indústria cultural como condição para o surgimento da música materializada, a partir da qual ela se desmaterializa. Elenca as principais teorias de recepção. Problematiza a cultura digital em suas potencialidades e contradições. Discute a cultura do download. Levanta reflexões sobre a crise da indústria fonográfica e a desmaterialização da música no cenário da modernidade tardia.
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Ardèvol, Elisenda, and Débora Lanzeni. "Digital Visualities and Materialities: paths for an anthropological walk." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/80358.
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En este artículo presentamos una reflexión sobre cómo estudiamos lo digital desde una perspectiva antropológica y exploramos cómo se han planteado cuestiones como la diversidad cultural, las desigualdades sociales y las posibilidades de cambio y transformación social vin- culadas con las tecnologías digitales. Proponemos que es necesario abrir un debate sobre las conceptualizaciones de lo digital y cuáles son las categorías que utilizamos para describir los procesos de cambio y continuidad en lo cotidiano, así como el papel de las tecnologías en ellos. este planteamiento nos lleva a cuestionarnos cómo los etnó- grafos y etnógrafas hemos explorado las complejas relaciones entre las prácticas locales, los tránsitos globales y las tecnologías digitales; para ello, abordamos algunos caminos que ha tomado el abordaje de los aspectos materiales y visuales de lo digital en la creación cultural y en los medios de comunicación y nos preguntamos sobre la manera en que incorporamos lo digital en nuestra propia práctica etnográfica y producción de conocimiento antropológico.<br>This paper discusses digital technologies from an anthropological perspective, concentrating on ways in which cultural diversity, social inequality and the possibilities of change and social transformation have been discussed. We examine the ways in which the digital domain has been conceived, categories used to describe processes of change and continuity in everyday life, and the impact of digital technology on these. this approach leads us to question up how ethnographers have explored the relationships among local practices, global transits and digital technologies, and the material and visual aspects of the digital in cultural production and media communication. Finally, we discuss how to incorporate digital technologies in ethnographic practice and anthropological knowledge.
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Gonzatti, Christian. "Bicha, a senhora é performática mesmo: Sentidos queer nas redes digitais do jornalismo pop." Universidade do Vale do Rio dos Sinos, 2017. http://www.repositorio.jesuita.org.br/handle/UNISINOS/6902.
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Previous issue date: 2017-12-19<br>CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>A pesquisa visa entender, através dos sentidos acionados pelo Papel Pop, as relações entre o jornalismo, a cultura pop e os estudos queer. Busco nas transformações e nos desdobramentos históricos do jornalismo a maneira como as lógicas do pop foram se implicando nele. Proponho, assim, uma perspectiva jornalística específica para entender essas dinâmicas, o jornalismo pop: voltado à cobertura da cultura pop, pautando acontecimentos engendrados por uma lógica intensamente midiática e comercial, mas que não se encerra aí. Constato que existem, em um contexto de crise sistêmica instaurada pela cultura digital que atravessa as lógicas jornalísticas, sete categorias para pensar a cobertura do pop no país – e que muitas vezes se interprenetam através de estratégias de produção diversas: a cobertura jornalística em torno de produtos que se desdobram da música pop, das celebridades, da cultura geek/nerd/otaku, de produções audiovisuais como filmes e séries, das novelas e do humor e a geral. Existem, nessas possibilidades, os vínculos de produção que são perpassados pelas práticas das/dos fãs – podendo serem institucionalizados no sentido de se tornarem (micro) empresas ou não – e os políticos, que envolvem um olhar crítico através de marcadores como o sexo/gênero, a raça e a sexualidade para as produções da cultura pop. O Papel Pop, no que se refere à cobertura noticiosa, movimenta-se através de todos esses focos, estando alocado no que eu entendi como uma macrotegoria: a cobertura da cultura pop de uma maneira mais ampla e geral. No entanto, há uma predominância da música pop feminina nas matérias e notícias, assim como o corpo editorial também remete a marcadores dissidentes da masculinidade heterossexual cisgênera. Visando desdobrar os sentidos acionados pelo jornalismo pop em questão, recorro à metodologia da Análise de Construção de Sentidos em Redes Digitais, que tem como pressuposto os movimentos de mapeamento de processos semióticos em rede, a elaboração de constelaçãoes de sentidos e o desenvolvimento de inferências sobre elas. Através de perspectivas dos estudos queer, notei, assim, a emergência de sete constelações de sentidos: Linguagens do Vale, Transviadices, Feminismos, Heteronormatividades Racismos/Multiculturalismos, Representações e Enfrentamentos Políticos. Elas sinalizam a maneira como o jornalismo pop do Papel Pop configura-se como uma territorialidade semiótica singular na cobertura da cultura pop, que rompe com pressupostos do masculino que atravessam o jornalismo hegemônico e que vai além da feminilidade que pode ser associada ao jornalismo cultural, sendo, portanto, queer.<br>The research search understands, through the senses triggered by Papel Pop, as relations between journalism, pop culture and queer studies. I seek in the transformations and historical developments of journalism the way in which the logics of pop have been implied in him. I propose, therefore, a specific journalistic perspective to understand these dynamics, pop journalism: aimed at the coverage of pop culture, setting forth events engendered by an intensely mediatic and commercial logic, but that does not end there. I note that there are, in a systemic crisis context established by the digital culture that runs through the journalistic logic, seven categories to think the pop coverage in the country - and often interpenatre through various production strategies: media coverage around products that are deployed from pop music, celebrities, geek/nerd/otaku culture, audiovisual productions like movies and series, novels and humor and the general. There are, in these possibilities, the production links that are permeated by the practices of the fans - they can be institutionalized in the sense of becoming (micro) companies or not - and the politicians, who involve a critical look through markers like sex / gender, race and sexuality for pop culture productions. The Papel Pop, as far as news coverage is concerned, moves through all these focuses, being allotted in what I understood as a macrotegory: the coverage of pop culture in a broader and more general way. However, there is a predominance of female pop music in stories and news, just as the editorial body also refers to dissident markers of heterosexual masculinity cis. Aiming to unfold the senses triggered by the pop journalism in question, I turn to the methodology of the Analysis of Sense Construction in Digital Networks, which has as a presupposition the movements of mapping of semiotic processes in the network, the elaboration of sense constellations and the development of inferences about they. Through the perspectives of the Queer studies, I thus noticed the emergence of seven constellations of meanings: Valley Languages, Transviadices, Feminisms, Heteronormativities, Racisms / Multiculturalisms, Representations and Political Confrontations. They signal the way Papel Pop’s pop journalism configures itself as a singular semiotic territoriality in the coverage of pop culture, which breaks with the assumptions of the masculine that crosses hegemonic journalism and goes beyond the femininity that can be associated with cultural journalism, being, therefore, queer.
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Satchell, Christine, and christine satchell@gmail com au. "A young nomad's guide to new digital terrains." RMIT University. Applied Communication, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080522.151721.
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In the early twenty first century, the mobile phone plays an integral role in helping young people shape their identity and achieve social goals. This means that designers of mobile phones are not only creating an artefact that will have a functional purpose for the end user, but one that will be saturated with cultural meanings. In response, the research conducted for this thesis aims to investigate the use of mobile phones in youth cultures so the social and cultural intricacies of interactions can be understood. Consistent with a user centred design approach, the insights from the user study are applied to the development of new technology. The result is the development of The Swarm; a mobile phone prototype that meets the specific social and cultural needs of the young users in the study. Integral to this is the development of a methodological approach that embeds cultural theory within Human Computer Interaction and more specifically, the user centred design process.
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Carniello, Monica Franchi. "Estratégias publicitárias no contexto da comunicação digital:A vida pratrocinada pelas marcas." Pontifícia Universidade Católica de São Paulo, 2005. http://tede2.pucsp.br/handle/handle/4682.
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Previous issue date: 2005-02-14<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Starting from the technological development of the medias, we can delineate a great change in all the areas of the knowledge, constituting new paradigms for the construction of messages that will base the digital culture. This work has as objective understand which the implications that these new references brings for the advertising, that acquired in our society immense visibility and importance, and that changes happened in the advertising strategies in this new context. This descriptive research used as main method the bibliographical data collection, being based theoretically in authors that discuss the implications of the technology in the society, as Manuel Castells and Lev Manovich, and that approach under several aspects the subjects that involve advertising, media and power, as Gilles Lipovetsky and Guy Debord. The corpus was constituted by advertising pieces that somehow used the digital language, exhibited starting from 2000. The analyses allowed a diagnosis of the current advertising and the identification of the strategies used in the digital context, and the main ones were: tendency of the brands create their own medias to institute a lifestyle for the use of their products; clear moving from the mass communication for the segmentation; use of cross media strategies due to the mobility of the medias; and the tendency of the advertising to turn less and less identifiable in relation to the information, controlling the distribution systems of messages, causing the sensation of choice freedom to the consumer.<br>A partir do desenvolvimento tecnológico dos meios de comunicação, podemos delinear uma grande mudança em todas as áreas do conhecimento, constituindo novos paradigmas para a construção de mensagens que vão fundamentar a cultura digital. Este trabalho tem como objetivo compreender quais as implicações que estes novos referenciais trazem para a publicidade, que em nossa sociedade adquiriu imensa visibilidade e importância, e que mudanças ocorreram nas estratégias publicitárias neste novo contexto. Esta pesquisa descritiva usou como principais métodos a coleta de dados bibliográfica, fundamentando-se teoricamente em autores que discutem as implicações da tecnologia na sociedade, como Manuel Castells e Lev Manovich, e que abordam sob vários aspectos as questões que envolvem publicidade, mídia e poder, como Gilles Lipovetsky e Guy Debord. O corpus foi constituído por peças publicitárias que de alguma maneira utilizaram a linguagem digital, veiculadas a partir de 2000. As análises permitiram um diagnóstico da publicidade atual e a identificação das estratégias utilizadas no contexto digital, sendo que as principais foram: tendência das marcas criarem suas próprias mídias para instituir um padrão cultural para o uso de seus produtos; nítida passagem da comunicação de massa para a segmentação; uso de estratégias de cross media devido à mobilidade das mídias; e a tendência da publicidade de tornar-se cada vez menos identificável em relação à informação, controlando os sistemas de distribuição de mensagens, causando a sensação de liberdade de escolha ao consumidor.
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Wictor, Jönsson. "The use of popular and digital culture to facilitate literacy learning." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-28447.
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This research synthesis investigates the effects that popular culture and new forms of mediation have had on the teaching and learning of English. Further, it examines some key aspects worth consideration when applying these types of texts in an educational context. The English syllabus for upper secondary school advises teachers to make use of the outside world for resources, and teach the students how to access, gather, analyze and use information found in different types of texts. After initial struggles, due to teachers’ reluctance, popular culture and modern media has found its way in to most classrooms and studies have shown different effects that the introduction of these texts have had on teaching and learning of English. Firstly, there has been a shift in how many teachers approach texts by letting students take more responsibility by participating in the selection process of different texts. Moreover, some studies have shown the effects popular culture and digital media have had on the acquisition of literacy skills. Study results suggest that primarily, students critical skills have developed, and that “out of school literacies” have helped students develop more traditional literacy skills such as reading and writing. However, this research synthesis concludes by saying that more research measuring the acquisition of traditional English using popular culture and digital media skills over longer periods of time involving more students would allow one to answer more accurately what effects they have had.
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Marchione, Renata. "Participatory culture and commodification in the age of the "digital revolution"." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/457041058/viewonline.
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Lee, Joon Seong. "Digital Spirituality and Governmentality: Contextualizing Cyber Memorial Zones in Korea." Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1153929122.
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