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Noakes, Travis. "Inequality in digital personas - e-portfolio curricula, cultural repertoires and social media." Doctoral thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/29652.
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Digital and electronic learning portfolios (e-portfolios) are playing a growing role in supporting admission to tertiary study and employment by visual creatives. Despite the growing importance of digital portfolios, we know very little about how professionals or students use theirs. This thesis contributes to knowledge by describing how South African high school students curated varied e-portfolio styles while developing disciplinary personas as visual artists. The study documents the technological and material inequalities between these students at two schools in Cape Town. By contrast to many celebratory accounts of contemporary new media literacies, it provides cautionary case studies of how young people’s privileged or marginalized circumstances shape their digital portfolios as well. A four-year longitudinal action research project (2009-2013) enabled the recording and analysis of students’ development as visual artists via e-portfolios at an independent (2009-2012) and a government school (2012-2013). Each school represented one of the two types of secondary schooling recognised by the South African government. All student e-portfolios were analysed along with producers’ dissimilar contexts. Teachers often promoted highbrow cultural norms entrenched by white, English medium schooling. The predominance of such norms could disadvantage socially marginalized youths and those developing repertoires in creative industry, crafts or fan art. Furthermore, major technological inequalities caused further exclusion. Differences in connectivity and infrastructure between the two research sites and individuals’ home environments were apparent. While the project supported the development of new literacies, the intervention nonetheless inadvertently reproduced the symbolic advantages of privileged youths. Important distinctions existed between participants’ use of media technologies. Resourceintensive communications proved gatekeepers to under-resourced students and stopped them fully articulating their abilities in their e-portfolios. Non-connected students had the most limited exposure to developing a digital hexis while remediating artworks, presenting personas and benefiting from online affinity spaces. By contrast, well-connected students created comprehensive showcases curating links to their productions in varied affinity groups. Male teens from affluent homes were better positioned to negotiate their classroom identities, as well as their entrepreneurial and other personas. Cultural capital acquired in their homes, such as media production skills, needed to resonate with the broader ethos of the school in its class and cultural dimensions. By contrast, certain creative industry, fan art and craft productions seemed precluded by assimilationist assumptions. At the same time, young women grappled with the risks and benefits of online visibility. An important side effect of validating media produced outside school is that privileged teens may amplify their symbolic advantages by easily adding distinctive personas. Under-resourced students must contend with the dual challenges of media ecologies as gatekeepers and an exclusionary cultural environment. Black teens from working class homes were faced with many hidden infrastructural and cultural challenges that contributed to their individual achievements falling short of similarly motivated peers. Equitable digital portfolio education must address both infrastructural inequality and decolonisation.
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Marczyk, Organek Katherine D. "Sleep in Early Adolescence: an Examination of Bedtime Behaviors, Nighttime Sleep Environment, and Parent-set Bedtimes Among a Racially/ethnically Diverse Sample." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804905/.
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Early adolescence (e.g., 10-14 years old) is a time during which health habits and behaviors first develop that carry over into adulthood. This age range is also a time when changes are often first observed in typical sleep patterns, such as a delay in bedtimes, decreased total sleep times, and increased sleep problems. Electronic media and social networking have become essential to adolescent interpersonal communication and are negatively associated with adolescent sleep. Room and/or bed sharing practices and having a parent-set bedtime are still common in this age range, though no study has examined the relationship between these culturally influenced practices and the sleep of racially/ethnically diverse early adolescents. The current study examined if differences exist between 1272 Caucasian, Hispanic/Latino, and African American early adolescents (ages 10-14 years) on self-reported bedtime, SOL, TST, and sleep efficiency, and whether these differences persist when taking into account presence of electronic media in the bedroom (i.e., TV, videogame console, computer, cellphone), media use at bedtime (i.e., watching TV, playing video/computer games, social networking, texting), room sharing, and parent-set bedtimes. Preliminary results showed that females reported worse sleep than males (i.e., longer sleep onset latency, shorter TST, and lower sleep efficiency, with a trend for having a later bedtime), and that African Americans and Hispanics reported later bedtimes than Caucasians, Hispanics reported shorter sleep onset latency and longer sleep efficiency than Caucasians, and African Americans reported shorter total sleep time than Caucasians. Presence of any type of media in the bedroom or use of any type of electronic media at bedtime was associated with later bedtimes and shorter total sleep times, but not with SOL or sleep efficiency. Parent-set bedtimes were associated with earlier bedtimes, longer sleep onset latency, longer TST, and lower sleep efficiency. After controlling for significant bedtime factors, only the main effects for TST became non-significant, while the interaction became significant. Hispanic females reported shorter TST than Hispanic males, African American females reported shorter TST compared to Caucasian females, and Caucasian males reported shorter TST compared to Hispanic males. Intervention strategies such as parent education and sleep education in schools targeting the bedtime behaviors and sleeping habits of adolescents are discussed.
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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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Cronje, Franci. "Border crossings : how students negotiate cultural borders during digital video production." Doctoral thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/10299.
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Includes bibliographical references (p. 278-292).This thesis explores emerging patterns of communication in student video production and the extent to which such patterns signify cultural border crossings in a South African upper income group school context. The investigation was carried out with specific reference to the politics of difference, an educational philosophy defined by Henry Giroux (2006) as border pedagogy. Within the framework of multimodal pedagogy, four learners from diverse cultural backgrounds collaborated with one another in a timeframe of three days to create digital video productions using guidelines provided by the researcher. The production unit was observed in order to answer questions around the utilisation of video production in the classroom, as well as how learners interact and negotiate cultural issues while producing video. The data was analysed with a custom-made multimodal toolkit as proposed by Baldry and Thibault (2006). By employing Kress and Van Leeuwen's four strata of Discourse, Design, Production and Distribution various types of data illuminated themes around social memory, race, the influence of class difference, and gender representation. Assessment techniques in terms of the multimodal theories of Kress and Van Leeuwen (2001) also enabled the researcher to look at the way in which meaning is made "in any and every sign, at every level, and in any mode" (Kress & Van Leeuwen, 2001: 4). The classroom intervention was designed to encourage adolescents as "unique hybrids" (Bhabha 1994) to cross borders of cultural identity, hypothesising that difference might emerge more clearly in the negotiation and video production process, than what might crystallise in analyzing the final video production. Metaphorical border crossing in a cultural and racial sense might become more apparent in production than final product. The negotiation of Border Difference took preference over the ultimate erosion of these borders.
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Sadowski, Helga. "Digital Intimacies : Doing Digital Media Differently." Doctoral thesis, Linköpings universitet, Tema Genus, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-132634.
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Digital media have become an integral part of many people’s everyday lives and constitute an intimate presence therein. Utilizing the concept of digital intimacy to focus on these recent developments, this doctoral dissertation takes the perspectives of feminist cultural studies and affect theory to analyze how digital media are becoming more intimate and how in turn intimacy is remediated within digital cultures. This research brings together three different strategic examples of digital intimacy. The first is chosen from the context of online hate and harassment, and works to counteract digital forms of intimidation. The second is from the world of software development training initiatives tailored for women and designed to make them digitally intimate. The third investigates the digital subculture around ASMR (‘autonomous sensory meridian response’), which is an intimate multi-sensory stimulation induced by such things as online video clips. It is argued that these three initiatives are good illustrations of contemporary gender relations in digital cultures, and also do digital media differently. This means that they develop and apply sometimes straightforward, sometimes rather playful strategies to counteract gender-based inimicalities (such as forms of discrimination or exclusion, or objectification) within digital cultures. The thesis argues that such digitally intimate strategies can be utilized analytically in order to contribute to contemporary feminist internet politics.Digitala medier har blivit en integrerad del av och en intim närvaro i många människors vardag. Med hjälp av begreppet digital intimitet, som tar dessa förändringar på allvar, analyserar denna avhandling hur digitala medier blir mer intima och hur intimitet remedieras i digitala kulturer. Detta görs utifrån perspektiv hämtade från feministiska kulturstudier och affektteori. Tre olika strategiska exempel på digital intimitet diskuteras. Det första exemplet hanterar näthat och trakasserier online och utgör ett slags motståndsstrategier. Det andra handlar om utbildningsinitiativ inom programmering riktade till kvinnor, ämnade att ge kvinnor större digital tillgång, närhet och närvaro. Det tredje fallet undersöker den digitala subkulturen kring ASMR (’autonomous sensory meridian response’), en intim multi-sensorisk stimulering som ofta understöds av videoklipp online. Det hävdas här att dessa strategiska exempel, först och främst, synliggör samtida genusrelationer i digitala kulturer, men även visar hur digitala medier gör genus på nya sätt. Med detta menas att i medierna både bevaras genuskonventioner och tillämpas nya, ibland lekfulla strategier för att motverka könsrelaterad fientlighet inom digitala kulturer. Avhandlingen hävdar att de tre studerade strategierna för digital intimitet kan användas analytiskt för att bidra till en samtida feministisk internetpolitik.
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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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Johansson, Erik. "Chess and Twitch : Cultural Convergence Through Digital Platforms." Thesis, Södertörns högskola, Medie- och kommunikationsvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-45612.
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This thesis studies online fan communities, using the recent popularity of chess on live streamingplatform Twitch.tv as a case study to examine audience and cultural convergence between high and popular culture in a digital community setting. Bourdieu’s theoretical concepts field and capital are utilised in order to investigate changing structures and norms within this converging chess field. Affordances of the Twitch platform, too, are considered as key role players in the transformation ofchess culture online. Through participant observation in a live stream channel and through content analysis of online forum materials discussing the Twitch-hosted amateur chess "PogChamps"tournament, the study’s findings suggest that the introduction of a new platform like Twitch into a fieldlike the chess field can fundamentally restructure the community. This can occur because of platform affordances that offer new means for community members to accumulate valuable capital by setting new terms for what constitutes valuable capital and what it means to be "in the know" in the field. Additionally, by bringing new audiences to the chess community, Twitch is a key influencer indeveloping what can be seen as a new form of fan community centred around chess that emphasises spectacle and entertainment above game proficiency. These findings, the thesis concludes, can beapplied in similar community contexts in order to further understand the dynamic nature of online communities.
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Elerding, Carolyn. "Mechanical Clouds and Other Concrete Abstractions: Materiality, Enlightenment, and the Digital." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492627462988087.
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Berger, Richard. "Rewiring the text : adaptation and translation in the digital heteroglossia." Thesis, Bournemouth University, 2005. http://eprints.bournemouth.ac.uk/13283/.
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This dissertation is concerned with adaptation, in the context of new emerging digital media platforms. The project proposes that new media has allowed for the creation of a universal digital heteroglossia; a heteroglossia that contains the plurality of the unstable utterances of cinema, radio, television, the web and computer games. This has allowed for the process of adaptation to become more instantaneous in the simultaneous deployment of narratives across the digital heteroglossia. Therefore, the process of adaptation is far more dialogical, with previous variants of narratives being ‘rewired’ and gaining an ‘afterlife’ through adaptation, and through the creation of new variants and versions. The Internet has allowed for adaptation to move into a participatory mode, where fanfic writers fill in ‘gaps’ left by the creators of televisual and filmic texts. Videogames, based on pre-existing or co-existing texts, mean that players can experience moments of supreme and non-permanent adaptation themselves. This thesis suggests that this participation has democratised adaptation, and has fundamentally altered the nature of ‘traditional’ adaptation. The thesis concludes that, due to a digital heteroglossia, ‘traditional’ adaptation will decline, as the process becomes more plural and instantaneous. With previous variants of narratives being summoned back into life - due to adaptation, remaking and refashioning - it is increasingly unlikely that ‘fidelity’ strategies of adaptation will continue to be the dominant discourse, as all variants of narratives begin to exist in a dialogical plurality with one another; a mutual exchange of fluctuating source and target texts, cross-referenced through intertextuality and assembling a collage of influences.
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Burgess, Jean Elizabeth. "Vernacular creativity and new media." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16378/.
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This study takes a cultural studies approach to investigating the ways in which the articulation of vernacular creativity with digital technologies and the networked cultural public sphere might constitute sites of cultural citizenship. In the thesis, the concept of 'vernacular creativity' describes the everyday practices of material and symbolic creativity, such as storytelling and photography, that both predate digital culture and are remediated by it in particular ways. The first part of thesis, covering Chapters 2 and 3, develops a theoretical framework and cultural history of vernacular creativity in new media contexts. Chapter 2 introduces the idea of vernacular creativity and connects it to cultural studies approaches to participatory media and cultural citizenship. Chapter 3 theorises and historicises the relationships among vernacular creativity, technological innovation and new media literacy, drawing on social constructionist approaches to technology, and discussing concrete examples. The first of these examples is the mass amateurisation of photography in the first half of the twentieth century, as represented by the monopoly of popular photography by Kodak in the United States and beyond. The second is the domestication of personal computing in the second half of the twentieth century, culminating in a discussion of the Apple brand and the construction of an ideal 'creative consumer'. The second part of the thesis, covering Chapters 4 and 5, is devoted to the investigation of two major case studies drawn from contemporary new media contexts. The first of these case studies is the photosharing network flickr.com, and the second is the Digital Storytelling movement, structured around collaborative offline workshops in which participants create short multimedia works based on their biographies and personal images. These case studies are used to explore the ways vernacular creativity is being remediated in contemporary new media contexts, the socio-technical shaping of participation in digital culture, and the implications for cultural citizenship. In Chapter 6, the thesis concludes by suggesting some further implications of the research findings for cultural and media studies approaches to the relations of cultural production and the politics of popular culture.
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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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Gaskins, Nettrice. "Techno-vernacular creativity, innovation and learning in underrepresented ethnic communities of practice." Diss., Georgia Institute of Technology, 2014. http://hdl.handle.net/1853/53163.
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A model for ‘techno-vernacular’ creative production as an area of practice that investigates the characteristics of this production and its application in STEAM (Science, Technology, Engineering, Art, Mathematics) learning was proposed. This dissertation consists of a study involving four workshops conducted between 2013 and 2014 that sought to examine the impact of the following combined methods a) culturally situated design, which connects vernacular art and crafts with standards-based STEM principles and allows users to simulate and develop their own creations; b) art-based learning, which is effective in stimulating the development of 21st century skills such as creativity, learning, and innovation; and c) educational applications of new technologies on UEG learning in STEAM. Findings show that this combination led to an increase in interest and motivation among UEGs. This study demonstrates the connection between technical literacy, diversity, and culture through TVC taxonomy and a learning ecology for teaching STEAM. This research aims to make a significant contribution to interdisciplinary education by bringing the culturally situated design and arts-based learning communities to STEAM through the learning sciences and to further scientific understanding of UEG interest and motivation as a model to inform future research.
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salman, karam, and Mikkel Lind. "Multimodalt meningsskapande i bildundervisningen." Thesis, Malmö universitet, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-40794.
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Kunskapsöversikten syftar på att belysa det multimodala filmskapandets betydelse i bildundervisningen. Översikten innehåller nio artiklar och två doktorsavhandlingar där författarna på olika sätt gjort undersökningar om vilken betydelse filmskapande har i undervisningen. Forskningsresultatet visar att kreativitet, engagemang och motivation gynnas av filmskapande då elever tillåts att fritt få skapa multimodala filmer genom digital produktion, även elevers meningsskapande och ämneskunskap fördjupades. Forskningsresultatet framhäver även vikten av att lärare besitter digital kunskap för att kunna lära ut digital produktion till sina elever.
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Kelly, Aryn. "Mobilizing Images of Black Pain and Death through Digital Media: Visual Claims to Collective Identity After “I Can’t Breathe”." Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7827.
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In the wake of Eric Garner’s 2014 public execution at the hands of NYPD officers, online spaces such as Twitter saw an influx of remediated imagery referencing Ramsey Orta’s bystander cell phone video of Garner’s death. These images often explicitly reference the chokehold that killed Garner and/or they reappropriate Garner’s last words: “I can’t breathe.” To what formal dimensions in Orta’s video are these remediated images responding? What broader cultural work is the creation of these images doing?
In this project, I regard Orta’s video as the point of entry for considering the cultural work of remediating images from it, as understanding its formal dimensions are necessary to recognizing the ways in which the remediated images attend to Garner’s body. I read this video using Scott Richmond’s revision of Christian Metz’s theory of cinematic identification to identify the concerning and compelling tension between over and under-identifying with onscreen subjects in Orta’s video, ultimately asserting that aligning with any body onscreen is ultimately a choice. Further, the remediated images attending to Garner’s body signal viewer’s chosen alignment with him or Orta, and claim Garner’s death as a socially constructed cultural trauma. These claims not only signal collective identification around the trauma on behalf of those who did not initially witness it, but also express belief in Garner’s experience despite a public discourse that continually emphasized his (and other black men’s) perceived violent potential.
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Jiang, Tianyu. "“Frankenstein Complex” in the Realm of Digital Humanities : Data Mining Classic Horror Cinema via Media History Digital Library (MHDL)." Thesis, Stockholms universitet, Filmvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169638.
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This thesis addresses the complexity of digitalization and humanities research practices, with a specific focus on digital archives and film history research. I propose the term “Frankenstein Complex” to highlight and contextualize the epistemological collision and empirical challenges humanities scholars encounter when utilizing digital resources with digital methods. A particular aim of this thesis is to scrutinize digital archiving practices when using the Media History Digital Library (MHDL) as a case for a themed meta-inquiry on the preservation of and access to classic horror cinema in this particular digital venue. The project found conventional research methods, such as the close reading of classical cinema history, to be limiting. Instead, the project tried out a distant reading technique throughout the meta-inquiry to better interrogate with the massive volume of data generated by MHDL. Besides a general reassessment of debates in the digital humanities and themes relating to horror film culture, this thesis strives for a reflection on classic horror spectatorship through the lens of sexual identity, inspired by Sara Ahmed’s perspective on queer phenomenology. This original reading of horror history is facilitated by an empirical study of the digital corpus at hand, which in turn gives insights into the entangled relation between subjective identities and the appointed research contexts.
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Andersson, Oscar. "Anti-corruption and opposition in Russia: Digital media and rhetorical strategies of Navalny." Thesis, Malmö universitet, Institutionen för globala politiska studier (GPS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-44338.
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What were the main goals in Navalny’s political agenda and how did this influence his rhetorical approach? This paper explores how Navalny and his aspirants were disqualified as political candidates in Russian elections, and how this affected his approach to being focused on contentious politics as it became the only viable means to push for political change in the country. Two of his most viral videos are analysed to investigate the rhetorical strategies he used to set frames on the political elite, and the main answers revolved around corruption, theft, and the self-image of Medvedev and Putin. Although there were clear similarities between the two videos, the most recent “Palace for Putin” displayed new and more moral, judgmental and offensive methods than the previous “He is not Dimon to you”. Furthermore, this paper investigates the large-scale protests of 2021 and how public opinion about Navalny has developed in Russia. The expectation was that public opinion would be more favourable in recent times than it has been in the past, largely due to the massive protests which he managed to spark. However, the answer was surprisingly the opposite, as statistics tilted slightly against him rather than the other way around. Part of the explanation to this was that the highest number of people who disapproved of Navalny used state television as their main source of information, as opposed to the majority of the younger population who frequently used the internet, and thereby had a more positive view of him. When examining the protest trajectories, it was possible to find elements of Navalny’s political message amongst the people in terms of keywords and phrases that they chanted, evidence of his success above the fact of the protests themselves. The final aim was to review how the authoritarian regime responded to Navalny’s contentious politics, and in this regard, it was concluded that both domestic and international pressure moved the regime to increasingly repressive measures against Navalny’s Anti-Corruption Foundation and further deteriorated the relationship between the EU and Russia.
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Allen, Axel. "Imagining intelligent artefacts : Myths and a digital sublime regarding artificial intelligence in Swedish newspaper Svenska Dagbladet." Thesis, Stockholms universitet, JMK, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-172782.
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Artificial intelligence (AI) has over the past years become a hot topic for discussion in Sweden, as the technology presents exciting unique possibilities and challenges for the country and its citizens. Coverage of AI in Swedish news media presents imagined scenarios with both current and future AI that contribute to myths about how the technology is able to radically transform life, that spring out of a central digital sublime. Through a mixed-method study of 55 newspaper items about AI from Svenska Dagbladet from 2017 to 2018, the thesis studies what evident AI myths occur in coverage and how such discourses spring out digital sublime regarding AI. A total of four AI myths are found in news media coverage that revolve around existing and future intelligent computers, robots, machines and perceptions with them. Myths and hopes and concerns with them point to digital sublime regarding AI as a force of intelligent digitization that promises to empower a sublime citizen, economy, and welfare state. Emotional values with sublime AI are understood to reflect a general Swedish techno-optimism as digital artefacts have allowed Sweden to become prosperous.
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Thomas, Geoffrey Piers. "Ambivalent animal." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/33826.
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The Ambivalent Animal project explores the interactions of animals, culture and technology. The project employs both artistic practice and critical theory, each in ways that inspire the other. My creative practice centers around two projects that focus on domestic pets. These projects highlight the animal's uncertain status as they explore the overlapping ontologies of animal, human and machine. They provide concrete artifacts that engage with theoretical issues of anthropocentrism, animality and alterity. My theoretical work navigates between the fields of animal studies, art and design, media and culture studies, and philosophy. My dissertation explores animality through four real and imagined animal roles: cyborg, clone, chimera and shapeshifter. Each animal role is considered in relation to three dialectics: irreducibility and procedurality, autonomy and integration, aura and abjection. These dialectics do not seek full synthesis but instead embrace the oscillations of irresolvable debates and desires. The dialectics bring into focus issues of epistemology, ontology, corporeality and subjectivity. When the four animal roles engage the three dialectics, connected yet varied themes emerge. The cyborgian animal is simultaneously liberated and regulated, assisted and restricted, integrated and isolated. The cloned animal is an emblem of renewal and loss; she is both idealized code and material flesh and finds herself caught in the battles of nature and nurture. The chimera is both rebel and conformist; his unusual juxtapositions pioneer radical corporeal transgressions but also conform to the mechanisms of global capital. And the shapeshifter explores the thrill and anxiety of an altered phenomenology; she gains new perceptions though unstable subjectivity. These roles reveal corporeal adjustments and unfamiliar subjectivities that inspire the creative practice.
Both my writing and making employ an ambivalent aesthetic--an aesthetic approach that evokes two or more incompatible sensibilities.
The animal's uncertain status contributes to this aesthetic: some animals enjoy remarkable care and attention, while others are routinely exploited, abused and discarded. Ambivalence acknowledges the complexity of lived experience, philosophical and political debate, and academic inquiry. My approach recognizes the light and dark of these complex ambivalences--it privileges paradox and embraces the confusion and wonder of creative research. Rather than erase, conceal or resolve ambiguity, an ambivalent aesthetic foregrounds the limits of language and representation and highlights contradiction and irresolution.
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Martin, Nina. "The Activist’s Game : How do intersectionally marginalised independent game designers contribute to social justice movements? How does their digital artistic practice disrupt archival practices?" Thesis, Malmö universitet, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-43418.
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This Degree Project (DP) focuses on an under-researched area in the field of ComDev, namely the study of entertaining games. It explores and asks how independent and intersectionally marginalised game designers contribute to social justice movements. The trajectory of this DP is informed by responses to an online survey with 49 diasporic gamers of colour in the socalled global North. The game design practices researched encompass artistic, technological and archival endeavours. These are positioned within the individualistic, community and societal factors surrounding the participants of this research. Seven independent game designers of colour in Europe and the US were interviewed via video calls and a Foucauldian Discourse Analysis is applied to analyse their responses. The literature review considers previous research on the potential and flaws of new technologies, on game design as an art practice, on art as a social movement and on community, identity and demography in games. The consequential theoretical framework is based on a Critical Race theoretical and practical approach. In a commitment to intersectionality it further applies queer theory and postcolonial theory as its pillars to conducting this subjectivist qualitative research. The findings suggest that game designers exist at the intersection of art, technology and industry and hold the agency to contribute to social movements. They may do so through an empowerment lens and community efforts, while not claiming the title of an activist per say. Through further research their contribution to development may be further explored.
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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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Fowler, Charity A. "Negotiating Desire: Resisting, Reimagining and Reinscribing Normalized Sexuality and Gender in Fan Fiction." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4852.
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Fan studies has examined how fan fiction resists heteronormativity by challenging depictions of gender and sexuality, but to date, this inquiry has focused disproportionately on slash, to the exclusion of other genres of fan fiction. Additionally, scholars disagree about slash’s subversive effects by setting up a seemingly stable dichotomy—subversive vs. misogynistic—where one does not necessarily exist.
In this project, I examine multiple genres of fan fiction—namely, slash arising from bromances; femslash from female friendships; incestuous fan fiction from dysfunctional familial relationships; and polyamorous fics. I chose fics from four televisions shows—NBC’s Revolution, MTV’s Teen Wolf, the CW’s The Vampire Diaries, and its spin-off, The Originals—and closely read them to identify patterns in their representations of gender and sexuality and how they connect to the source texts. Taking a dialogic “both/and” approach, I argue that critics claiming that slash is often not subversive are right to a point, but miss a key potential of fan fiction: its ability to evoke possibility—for new endings, relationships, and sexualities. Heteronormativity often asserts itself in endings; queerness plays in the middles and margins. So, too, does fan fiction. While some individual fics may reinforce elements of heteronormativity, many also actively question and transgress norms of gender, sexuality and love. Further, they embrace fluidity and possibility, and engage with the source texts and larger culture around them in a way that provides a subversive interpretation of both and offers insight into the function of the constructed nature of institutionalized heterosexuality.
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Molapo, Mpaki. "The cross-cultural camera of Akira Kurosawa." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/11010.
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Bibliography: leaves 110-120.This minor dissertation is undertaken to examine the cross-cultural similarities that are revealed by motion pictures through analyzing the work of Akira Kurosawa and contrasting it with selective mainstream cinema texts. Kurosawa is a critical case in point due to his welding of Occidental and Japanese ideas into his films, and his origin from a hybridized Japan, a society which historically has freely absorbed and embellished itself from numerous cultures, including America, Korea, China and Europe.
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Skalsky, Brown Julie A. "Let’s Play: Understanding the Role and Significance of Digital Gaming in Old Age." UKnowledge, 2014. http://uknowledge.uky.edu/gerontol_etds/6.
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Despite a marked increase in the use of digital games among older persons, there is insufficient research that provides insight into the gaming experiences of this population. A major demographic shift within the senior gaming market has ushered in a new perspective on the use of digital games as a tool for physical and cognitive health, and improved socialization. It is proposed that individual notions of play, which are developed over the life course, influence digital game play engagement and interaction preferences, and contribute to well-being. This study explored how self-perceptions of play over the course of the senior gamer’s life influence digital game engagement. Because the emerging area of senior gaming lacks theoretical structure, grounded theory methodology was employed. A qualitative study based on semi-structured interviews of aging gamers was conducted. A total of forty participants (age 44 to 77 with a digital gameplay average of 11 hours per week) were identified and interviewed with the aid of an interview guide. Designed with a life course perspective in mind, this guide sought to explore each participant’s perception of play, personal forms of play throughout their life, and the role of digital games as a component of play in old age. Transcription and analysis (open, axial, and selective coding utilizing the method of constant comparisons) was employed throughout the entire interview process. Findings indicated that digital gaming is a valued form of play and a means for play continuity. An analysis of emergent themes led to the development of a theory that emphasizes three domains: ability, motivation, and experience. Two theoretical models that represent the static and dynamic nature of these domains within the life of a gamer demonstrate the theory. This theory provides understanding of the key factors that influence gameplay, which has the potential of being applied toward the development of better age- and ability-appropriate digital games for aging gamers.
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Zhang, Alice Jin. "Excavation Sites: Art-ifacts of the Millennial Girl Web Development and Blogging Community of the 2000's to the Early 2010's." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1238.
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When people go online and leave their mark in bytes, how do their traces get preserved, shared, or lost?
In the early 2000’s through about 2012, communities of millennial girl web developers and bloggers flourished on the English-speaking Internet. They would write about their intimate lives, code their website designs from scratch, create portfolios of graphics, and forge friendships with fellow bloggers that lasted through years. Most of these blogs are now gone; only patches remain as screenshots on the Internet Archive Wayback Machine.
For my senior project, I explored how techniques used in glitch art, normally used for destroying image files for purely aesthetic effects, could also be used to embed texts that could be read by humans inside digital photos. I excavated photos and self-portraits of individual bloggers whose old content has since been erased from their original domains as of 2018. Then, I overrode pieces of each image file with the respective bloggers’ journal entries extracted from https://web.archive.org. The result is a picture irreversibly corroded by the loss of its original data, akin to the state of their bloggers' archived websites. It still functions like any image file in that the picture can be copied, shared, and viewed on another computer. However, unlike a typical image file, it also hides a patchwork of legible English text; one can “dig” into the image’s encoding and uncover nuggets of letters from a past Internet presence--specifically, that of a millennial girl's thoughts on identity, life, and the joys and struggles of coding and managing her own website.
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Gomez, Norberto Jr. "The Art of Perl: How a Scripting Language (inter)Activated the World Wide Web." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/472.
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In 1987, computer programmer and linguist Larry Wall authored the general-purpose, high-level, interpreted, dynamic Unix scripting language, Perl. Borrowing features from C and awk, Perl was originally intended as a scripting language for text-processing. However, with the rising popularity of the Internet and the advent of Tim Berners-Lee’s World Wide Web (Web), in the 1990s, Perl soon became the glue-language for the Internet, due in large part to its relationship to the Hypertext Transfer Protocol (HTTP) and the Common Gateway Interface (CGI). Perl was the go-to language for on the fly program writing and coding, gaining accolades from the likes of publisher Tim O’Reilly and hackers alike. Perl became a favorite language of amateur Web users, whom net artist Olia Lialina calls barbarians, or the indigenous. These users authored everything from database scripts to social spaces like chatrooms and bulletin boards. Perl, while largely ignored today, played a fundamental role in facilitating those social spaces and interactions of Web 1.0, or what I refer to as a Perl-net. Thus, Perl informed today’s more ubiquitous digital culture, referred to as Web 2.0, and the social web. This project examines Perl’s origin which is predicated on postmodern theories, such as deconstructionism and multiculturalism. Perl’s formal features are differentiated from those of others, like Java. In order to defend Perl’s status as an inherently cultural online tool, this project also analyzes many instances of cultural artifacts: script programs, chatrooms, code poetry, webpages, and net art. This cultural analysis is guided by the work of contemporary media archaeologists: Lialina and Dragan Espenschied, Erkki Huhtamo and Jussi Parikka. Lastly, the present state of digital culture is analyzed in an effort to re-consider the Perl scripting language as a relevant, critical computer language, capable of aiding in deprogramming the contemporary user.
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Gras, Stéphan-Eloïse. "L'écoute en ligne. Figures du sujet écoutant et mutations des espaces musicaux sur Internet." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040210.
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Cette recherche interroge les figures du sujet écoutant en jeu dans les mutations des espaces musicaux sur Internet de 2007 à 2014, afin de penser l’écoute en ligne dans ses spécificités philosophiques et communicationnelles. On étudie un dispositif industriel et logiciel de recherche et de recommandation musical complexe, l’interface de programmation d’ Echonest, pour en saisir les effets esthétiques, c’est-à-dire pour comprendre dans quelle mesure la culture numérique contemporaine façonne l’expérience musicale. Trois angles sont successivement abordés : une archéologie de l’écoute montre les héritages de son expérience en ligne, une étude des politiques de l’archive et de l’algorithme incite à penser les axiologies industrielles de machines du goût, enfin une analyse sémio-pragmatique met en exergue le régime fictionnel de l’écoute à l’écran. Face à l’émergence d’une forme médiatique, le streaming, ces trois temps décrivent un régime numérique contemporain de la perception (sensorium digital) comme une discipline de l’écoutable qui s’appuie sur des modes fictionnels de production de sens en ligneThis research questions the figures of the listening subject in the context of the transformations of musical spaces on the Internet from 2007-2014, in order to consider the question of online listening from the perspective of the fields of philosophy and communications. I study the industrial and logical disposition (dispositif) of the API of The Echo Nest, a complex musical search and recommandation engine. I seek to grasp the aesthetic effects of this technoogy as a means of understanding the extent to which contemporary digital culture shapes musical experience. This is approached from three perspectives: an archeology of listening, which shows what is inherited in the online listening experience; a critical reading of the politics of digital archiving and algorithms,which incites us to think about the industrial axiologies of « machines of taste » ; and lastly, a semiotic-pragmatic analysis, which draws attention to the fictional modalities involved in mediated listening. With the emergence of music streaming as a new form of radio, this dissertation traces a contemporary regime of digitized perception (digital sensorium) that becomes a « discipline oflistenable » supported by the fictional mode of online production of meaning
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Galvez, Chelsea Michelle. "AUTHENTICALLY DISNEY, DISTINCTLY CHINESE: A CASE STUDY OF GLOCALIZATION THROUGH SHANGHAI DISNEYLAND’S BRAND NARRATIVE." CSUSB ScholarWorks, 2018. https://scholarworks.lib.csusb.edu/etd/662.
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In 2016, the Walt Disney Company launched Shanghai Disneyland--the company’s first theme park in mainland China. Entering mainland China poses significant political and cultural challenges for American companies. To address these challenges, Disney pursued a “glocalization” strategy -- it accounted for local norms and values in launching Shanghai Disneyland. This paper examines how Shanghai Disneyland constructed its brand narrative to negotiate tensions in this glocalization process. A semiotic analysis of two Shanghai Disneyland commercials illustrates the ways in which Disney tapped into culturally meaningful themes of harmonic balance and collective identity to produce the park’s brand narrative--“China’s Disneyland.” A thematic analysis also considers how Chinese citizens engaged with that brand narrative on the popular Chinese social network, Weibo. Citizens engaged with this brand narrative in ways that deviate somewhat from Disney’s messaging, such as by avoiding depictions of people in the park. Still, even these deviations aligned with and reinforced the cultural values in the “China’s Disneyland” brand narrative. The study underscores the importance strategically adjusting brand narratives for new markets and accounting for users’ engagement with those narratives.
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Neal, Mark. "An investigation into the nature of cross-national managerial work." Thesis, Bournemouth University, 1993. http://eprints.bournemouth.ac.uk/9718/.
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This thesis documents a research project into the nature of cross-national managerial work, the work of managers operating abroad in multinational business organisations. The study focuses upon the impact of national cultural differences upon such work, and seeks to explain how cultural differences can lead to the development of costly and destructive problems, involving conflict, mistrust or resistance to parent company directives. The research breaks new ground in the study of cross-national managerial work by examining what has largely been overlooked to date, namely the experience of working in cross-national organisational settings. The study establishes the practical importance of this aspect of cross-national managerial work, by showing how the experience of working with cultural differences plays a constitutive role in the development of organisational problems. In discussing what has been overlooked to date, this thesis identifies an important area for future research, and suggests different ways in which this can be explored. It is intended that this thesis will contribute to knowledge about the nature of cross-national managerial work, such that national cultural differences may be better, more knowledgeably managed.
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Culp, Andrew C. "Escape." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1377255356.
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August, Morganne Tinsley. "Magic at the Crossroads: the Rise of the Video Essay." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4299.
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This thesis examines the birth, rise in popularity, and evolution of the video essay, a subgenre of the essay found recently in online literary journals. Chapter one provides a brief history of the alphabetic essay as it expands to include photo essays, audio essays, and essay-films. The second chapter outlines the history of the online literary journal and John Bresland’s role in the introduction of the video essay as it appears in online journals. Chapter three contains an examination of the way image, text, and sound function in video essays and the tools and strategies essayists are using to create them. The fourth chapter is composed of three case studies of Bresland’s work in an attempt to analyze the continuing evolution and breadth of the form.
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Akil, Hatem Nazir. "The visual divide Islam vs. the West, image peception in cross-cultural contexts." Doctoral diss., University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4733.
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Do two people, coming from different cultural backgrounds, see the same image the same way? Do we employ technologies of seeing that embed visuality within relentless cultural and ideological frames? And, if so, when does visual difference become a tool for inclusion and exclusion? When does it become an instrument of war? I argue that we're always implicated in visuality as a form of confirmation bias, and that what we see is shaped by preexisting socio-ideological frames that can only be liberated through an active and critical relationship with the image. The image itself, albeit ubiquitous, is never unimplicated - at once violated and violating; with both its creator and its perceiver self-positioned as its ultimate subject. I follow a trace of the image within the context of a supposed Islam versus the West dichotomy; its construction, instrumentalization, betrayals, and incriminations. This trace sometimes forks into multiple paths, and at times loops unto itself, but eventually moves towards a traversal of a visual divide. I apply the trace as my methodology in the sense suggested by Derrida, but also as a technology for finding my way into and out of an epistemological labyrinth. The Visual Divide comprises five chapters: Chapter One presents some of the major themes of this work while attempting a theoretical account of image perception within philosophical and cross-cultural settings. I use this account to understand and undermine contemporary rhetoric (as in the works of Samuel Huntington and Bernard Lewis) that seems intent on theorizing a supposed cultural and historical dichotomies between Islam and the West. In Chapter Two, I account for slogan chants heard at Tahrir Square during the January 25 Egyptian revolution as tools to discovering a mix of technology, language and revolution that could be characterized as hybrid, plural and present at the center of which lies the human body as subject to public peril. Chapter Three analyzes a state of visual divide where photographic evidence is posited against ethnographic reality as found in postcards of nude and semi-nude Algerian Muslim women in the 19th century. I connect this state to a chain of visual oppositions that place Western superiority as its subject and which continues to our present day with the Abu Ghraib photographs and the Mohammed cartoons, etc. Chapter Four deploys the image of Mohamed al-Durra, a 3rd grader who was shot dead, on video, at a crossroads in Gaza, and the ensuing attempts to reinterpret, recreate, falsify and litigate the meaning of the video images of his death in order to propagate certain political doxa. I relate the violence against the image, by the image, and despite the image, to a state of pure war that is steeped in visuality, and which transforms the act of seeing into an act of targeting. In Chapter Five, I integrate the concept of visuality with that of the human body under peril in order to identify conditions that lead to comparative suffering or a division that views humanity as something other than unitary and of equal value. I connect the figures of der Muselmann, Shylock, Othello, the suicide bomber, and others to subvert a narrative that claims that one's suffering is deeper than another's, or that life could be valued differently depending on the place of your birth, the color of your skin, or the thickness of your accent. Finally, in the Epilogue: Tabbouleh Deterritorialized, I look at the interconnected states of perception and remembering within diasporic contexts. Cultural identity (invoked by an encounter with tabbouleh on a restaurant menu in Orlando) is both questioned and transformed and becomes the subject of perception and negotiation.ID: 030646224; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (Ph.D.)--University of Central Florida, 2011.; Includes bibliographical references (p. 204-217).
Ph.D.
Doctorate
Arts and Humanities
Texts and Technology
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Chan, Iut Va. "Cross-cultural communication in official travel brochures of Macao." Thesis, University of Macau, 2005. http://umaclib3.umac.mo/record=b1636338.
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Sweeney, Ellen Elizabeth. "Partition and its legacies: a cross-cultural comparison of Irish, British and South Asian cinemas." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2016.
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In this dissertation, I will explore how 1990s and 2000s British, Irish and South Asian historical films represented the violent legacy of partition on the island of Ireland and in South Asia, respectively. I contend that a cross-regional and cross-national examination of the relationships between national memory, national cinema and minority will reveal that partition had a similar effect on Irish, South Asian and Northern Irish societies: the alignment of a normative national identity with a particular religious identity. This study will explore how key Irish, British and South Asian cinematic texts, despite being produced in disparate production contexts, similarly represent the brutal marginalization of gendered and religious minorities as a central legacy of partition.
In my engagement with these films, I have two central areas of exploration. The first is how these films challenge state or majoritarian histories by presenting themselves as historical texts that correct the historical record. I will show how state histories (Michael Collins), majoritarian narratives (Hey!Ram), repressed gendered minority histories (Khamosh Pani, The Magdalene Sisters) and post-conflict narratives (Five Minutes of Heaven and Fiza) contest majoritarian or colonial histories.
The second, and ancillary, area of exploration is how the international trauma film genre influences the films' respective representations of atrocity. I argue that trauma theory can help us understand minorities' relationship to the state and the ongoing impact of particular historical events on community and nation. To ground my comparative analysis, I draw from postcolonial theory, poststructuralism and trauma theory. In conclusion, I will contend that these films' minority figures remind us of the dangers of nationalism's limited imaginative boundaries and the role that cinema plays in helping us to think beyond its limitations.
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Nilsson, David. "Design i det digitala samhället: : En analys av tillgänglighetsanpassning för synnedsatta i Tv-spel." Thesis, Malmö universitet, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-43886.
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I denna uppsats analyseras TV-spel från år 2020 utifrån ett tillgänglighetsperspektiv gentemot synnedsatta. Detta för att se hur TV-spelsindustrin hanterar tillgänglighetsanpassning för synnedsatta och för att kunna identifiera de viktigaste funktionerna och designvalen inom området. Målet med uppsatsen är att belysa tillgänglighetsanpassning för synnedsatta i TV-spel och syftet är att granska vad man som spelutvecklare och designer kan göra för att förbättra det. En analys i två delar används för att undersöka dessa funktioner och designval. Metoden är framtagen med stöd i litteratur, tidigare forskning och egna iakttagelser. Resultatet av analysen visade att det finns många tillgänglighetsanpassade funktioner och designalternativ för att stödja synnedsatta människor i tv-spel, men att dessa i de flesta fallen inte är effektiva på grund av att de måste användas tillsammans för att skapa en helhet samt också implementeras på ett genomtänkt sätt. Slutligen diskuteras det hur grafiska designers och spelutveckare bör förhålla sig till tillgänglighetsanpassning inom TV-spel och vad de kan göra föra att förbättra den.
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Zhuang, Yuxi. "Representation of Working Women: A Comparative Study of Feature Films in China and the U.S. from 2000-2019." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1619196204339411.
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Ryan, Joelle Ruby. "Reel Gender: Examining the Politics of Trans Images in Film and Media." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1245709749.
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Frampton, Anthony. "Cross-Border Film Production: The Neoliberal Recolonization of an Exotic Island by Hollywood Pirates." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1394999350.
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Kang, Chee Youn. "REVISITING THE COGNITIVE MEDIATION MODEL IN THE DIGITAL AGE: A CROSS-CULTURAL STUDY OF FACEBOOK AS A VENUE FOR NEWS AND POLITICAL INFORMATION SOURCES, FACEBOOK USE AND CREDIBILITY AMONG NEW MEDIA USERS IN SOUTH KOREA AND THE UNITED STATES." OpenSIUC, 2017. https://opensiuc.lib.siu.edu/dissertations/1419.
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The objective of this study is to examine how credibility on Facebook is associated with information-seeking and sharing among new media users in South Korea and the United States. An information-seeker's environment is related to information resources that need to be assessed for usefulness and accuracy. As a vast number of users on Facebook get connected and exchange information, they confront greater uncertainty regarding who and what can be believed. Now is the time to concern and construct new skills and strategies for determining how to evaluate Facebook credibility with respect to Facebook use as news and political information source among new media users with different personal and cultural backgrounds. Furthermore, East Asian New Media Research relies greatly on theories and methods driven from the U.S. Since both Korean and American people have been recognized as heavy new media users as well as providers, it is vital to investigate the relationship between their patterns of Facebook use, credibility, information-seeking, and information-sharing on Facebook, in terms of a cross-cultural perspective. This study seeks to provide a comparative analysis of how Facebook use pertains to credibility and information-exchange among new media users in the US and South Korea, based upon Eveland's Cognitive Mediation Model and integrated credibility factors. The relationships among surveillance motivations for using Facebook, attention to news, elaboration with news organizations and networks, and perceptions of Facebook credibility in terms of a cross-cultural approach were examined employing structural equation modeling (SEM) techniques. The rationale of the proposed research models is discussed.
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Jarboh, Mathias. "Kunskap och attityder kring digitala fotspår och hur det påverkar användandet av internet : En studie om integritet, tillit och egenmakt." Thesis, Södertörns högskola, Medieteknik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-34323.
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Det finns enorma mängder data att samla in om dagens internetanvändare. Det går idag att med hjälp av människors digitala avtryck avgöra vad de har för intressen, vart de rör sig, samt hur de i framtiden kan komma att agera. I denna studie har det studerats vilken roll attityder och tidigare kunskaper om digitala fotspår har i användandet av internet. Inom ramen för denna uppsats har det också studerats om och hur teorier grundande i begreppen tillit, integritet och egenmakt har haft för inverkan på informanterna. I studien har det använts kulturella sonder för att agera provokatör och inspiratör inför de efterföljande intervjuerna. Resultatet visar att tidigare utbildning och förkunskaper om digitala fotspår har en liten till icke existerande effekt på användandet. Istället verkar det som att tidigare upplevelser och attityder kring digitala fotspår har en större inverkan på användandet av internet.There are huge amounts of data to collect on today's internet users. Today, with the help of digital footprints, we can calculate people´s interests, where they are moving, and how they may act in the future. In this study, I look at the functions of attitudes and previous knowledge of digital footprints in the use of the internet. In the context of this essay, it has also been examined how theories founded on the concepts trust, integrity and empowerment have had an impact on the informants. In the study, cultural probes have been used to act as provocateur and as inspiration for the subsequent interviews. The result shows that previous education and knowledge for digital footprints have a small to non-existent effect on the use. Instead, it seems that previous experiences and attitudes about digital footprints have a greater impact on the use of the internet.
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Al, Shehabi Ahmad, and Cecil Quiroga. "Queerness In Games." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-19856.
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The theme of this bachelor thesis was Queer Games. We discussed how queerness is applied in video games for queer people. We made some observations on how LGBTQ characters were represented within a few games that had representations of Queer experiences. We explored the topic of Queer Mechanics as presented by game creator Avery Mcdaldno (2014) and we researched discussions about Queerness in games by a select number of scholars. Namely, Bonnie Ruberg (Campus Gotland GAME, 2017), Naomi Clark (2017, Chapter 1) and Edmond. Y. Chang (2017, Chapter 2). We explained why we used Gay Memes as our anchoring topic for our Queer Game design and then we went through the methods and design process that we had while developing our Queer Game. These methods included Innovation By Boundary Shifting (Löwgren and Stolterman, 2004), Design Pillars (Max Pears, 2017) and The Crystal Clear method (New Line Technologies, 2018). Then, we broke down the design process starting with how we came up with the game concept, what design pillars we used and the programs and tools we used in the development of the game. We also explained the relation between our design process and the information we learned from the previously mentioned scholars and creators. At the end of this bachelor thesis, we discussed the effectiveness of the chosen methods, the results we found through research which included questioning the role of empathy and fun in games, putting less focus on superficial forms of representation and creating game mechanics that are queer. We described the finished video game we made and we introduced our ideas for future research on Queer Game Design.Temat för detta kandidatarbetet var Queer Spel. Vi diskuterade hur queerhet appliceras i digitala spel för HBTQ personer. Vi gjorde några observeringar kring hur HBTQ karaktärer representerades inom några spel som innehöll representationer av queer upplevelser. Vi undersökte ämnet “Queer Mechanics” som presenterades av spelskaparen Avery Mcdaldno (2014) och undersökte diskussioner från vissa forskare om Queerhet i Spel. Nämligen, Bonnie Ruberg (Campus Gotland GAME, 2017), Naomi Clark (2017, Kapitel 1) and Edmond. Y. Chang (2017, Kapitel 2). Vi förklarade varför vi använde “Gay Memes” som vår huvudämne för vår Queer-Spelgestaltning och sedan tydliggjorde våra metoder och designprocess som vi hade under utvecklingen av vår Queer-Spelgestaltning. Dessa metoder inkluderade Innovation By Boundary Shifting (Löwgren and Stolterman, 2004), Design Pillars (Max Pears, 2017) och The Crystal Clear method (New Line Technologies, 2018). Sedan bröt vi ner designprocessen till sina olika steg från hur vi kom fram till spelkonceptet till vilka “Design Pillars” vi använde och vilka datorprogram och verktyg vi använde för att utveckla spelgestaltningen. Vi förklarade också relationen mellan designprocessen och informationen vi lärde oss från de sistnämnda forskare och spelskapare. I slutet av detta kandidatarbetet diskuterade vi hur bra de valda metoderna fungerade och resultaten vi hittade genom vår undersökning. Dessa inkluderade att ifrågasätta rollen av empati och vikten av att ha roligt i spel, att lägga mindre fokus på ytliga former av representation och att skapa spelmekanik som är Queer. Vi beskrev den färdiga spelgestaltningen som vi skapade och introducerade våra egna idéer för framtida undersökningar om Queer Speldesign.
Arbetets resultat ledde till ett digitalt spel som kan laddas ner via denna länken https://ahmad-al-shehabi.itch.io/boyles-queer-quest-for-tea
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Rosén, Anton, and Charlotte Hamrin. "Battle of Recruitment : A Comparative Study of German and Swedish Militaries’ Recruitment Films." Thesis, Uppsala universitet, Institutionen för informatik och media, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-414479.
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Studien syftade till att undersöka skillnader i framställning i två militära rekryteringsfilmer från Tyskland och Sverige. Syftet uppfylls genom multimodala analyser av filmerna och genom en fokusgruppsintervju beståendes av tyska och svenska studenter. I den multimodala analysen kartlades relevanta meningsbärande modaliteter för att ta reda på hur organisationerna framställer sig själva i filmerna. Fokusgruppsintervjun gav underlag till en kvalitativ innehållsanalys där publikens tolkning av filmerna kartlades med ett särskilt fokus på hur kultur har för betydelse för tolkningen. Studiens teoretiska bakgrund utgörs dels av Althussers teori kring ideologier och statliga anordningar och interpellationskonceptet som det vidareutvecklas av Judith Williamson. För tolkning av fokusgruppsintervjun applicerades Stuart Halls teori om Encoding/Decoding och Kim Schröders multidimensionella mottagarmodell. Studien kommer fram till att filmerna syftar till att interpellera, tilltala, publiken på skilda vis vilket leder till att två olika ideologier reproduceras. Innehållsanalysen av fokusintervjun pekade på att den kulturella bakgrunden kan vara en central faktor som förklarar varför filmerna tolkades olika av deltagarna. Ur ett samhälleligt perspektiv är studien relevant då den påtalar militära organisationers reproduktiva makt över ideologier i samhället. Förslagsvis kan framtida forskning undersöka kulturens roll för avkodning av militära rekryteringsfilmer på en mer detaljerad nivå. Till exempel skillnader i mottagande mellan landsorts- och stadsbefolkning. Studiens begränsningar utgörs främst av den korta tidsram inom vilken den genomförts och bristen på triangulering av data
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Yang, Yi-Chen. "A comparison of women's roles as portrayed in Taiwanese and Chinese magazine print advertising." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2630.
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The purpose of this project was to examine the similarities and differences in magazine advertisements directed to women in China and Taiwan. Through content analysis of advertisments in these two countries, the researcher identified how women were portrayed and the social values or lifestyle attributed to them of each society.
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Blake, Greyory. "Good Game." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5377.
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This thesis and its corresponding art installation, Lessons from Ziggy, attempts to deconstruct the variables prevalent within several complex systems, analyze their transformations, and propose a methodology for reasserting the soap box within the display pedestal. In this text, there are several key and specific examples of the transformation of various signifiers (i.e. media-bred fear’s transformation into a political tactic of surveillance, contemporary freneticism’s transformation into complacency, and community’s transformation into nationalism as a state weapon). In this essay, all of these concepts are contextualized within the exponential growth of new technologies. That is to say, all of these semiotic developments must be framed within the post-Internet sphere.
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Leong, Rosa. "A study of research trends in international public relations." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2120010.
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Esping, Alva. "(Robot)influencern Miquelas visuella yttranden i vår samtida digitala verklighet : – En kvalitativ visuell analys av innehåll från Miquelas (@lilmiquela) Instagramprofil." Thesis, Malmö universitet, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-18637.
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Miquela är en så kallad ”robot-influencer”, vilket bland annat betyder att ”hon” är en virtuell fiktiv karaktär i ett pågående transmedialt narrativ som upprätthålls av företaget Brud. Eftersom Miquela består av datormodifierade bilder och animationer, ser ”hon” uppenbart overklig ut, vilket kan väcka en uncannyvalley effekt hos betraktaren. Arbetet med uppsatsen grundas i ett intresse av att vilja förstå hur något så synbart overkligt kan uppfattas och accepteras socialt som en aktuell (virtuell) influencer. Syftet är därmed att nå en djupare förståelse för hur Miquela visuellt tar sig i uttryck på Instagram. Således genomförs en kvalitativ bild- och textanalys av material från Miquelas Instagramprofil. Analysen utgår från (social) semiotiska förhållningsätt och fokuserar på hur olika former av kapital yttras. Resultatet visar främst på att Miquela (visuellt och tillsynes) innehar och nyttjar socialt kapital, samt genom att ”hon” uppträder ”vardagligt” enkelt går att relatera till, vilket kan bidra till de parasociala relationer ”hon” har till sina följare.Miquela is a so-called “robot-influencer”, which means that “she” is a fictional character within a transmedial narrative maintained by the company Brud. Due to Miquela being constructed by computer-generated imagery and animations, it is easy to perceive her appearance as unrealistic, which may cause the uncannyvalley-effect for the viewer. This paper has its foundation in an interest of wanting to understand how something so apparently unrealistic can become social accepted as an actual (virtual) influencer. The purpose is thereby to explore a deeper understanding of how Miquela gets expressed through visual content on Instagram. Hence a qualitative image- and textanalysis will be conducted on material from Miquelas Instagramprofile. The analysis will rely on an (social) semiotic perspective and its focal point will be on how various forms of capital is expressed. The results primarily show how Miquela, visually and seemingly, owns and uses social capital, and that “she” exhibits a relatable “everyday” behavior, which can contribute to the parasocial relationships "she" has with her followers.
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Ament-Gjenvick, Vanessa. "From Splicing To Dicing: Film Sound Design Goes Digital In The 1990s." 2014. http://scholarworks.gsu.edu/communication_diss/52.
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The common perception that sound design is a subset of postproduction sound, and that most film sound professionals are more technicians than artists, is an assumption that leads to erroneous conclusions about the nature of film sound as a component of filmmaking. Specific sound designers have been elevated to celebrity status while other film sound professionals remain unknown. Additionally, the computerization of postproduction sound contributes to the misconception that these professionals are workstation operators who merely construct film soundtracks from sound libraries and/or elements designed by the main sound designer. In the 1990s, the initial transition from analogue to digital postproduction sound practices began in motion pictures. The three major American film sound communities—Hollywood, the San Francisco Bay Area, and New York—had developed unique approaches to sound design largely due to cultural, labor, and economic differences between the three cities. The three communities worked from different historical contexts, within different union regulations, and were subject to different economic structures. These differences predisposed the three geographical sound communities to different workflows and attitudes toward sound design. By examining three case studies of award-winning soundtracks from the three regions—Barton Fink (1991), Bram Stoker’s Dracula (1992), and The English Patient (1996)—it becomes clear that the three communities, when confronted with the initial technological changes of the 1990s, experienced similar challenges with the inelegant transition from analogue to digital. However, their cultural and structural labor differences governed different results. Rather than define the 1990s as an era of technological determinism—which would be a superficial reading of the era—it is an era best understood as one in which sound professionals became more viable as artists, collaborated in sound design authorship, and influenced this digital transition to better accommodate their needs and desires in their work.
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Burwell, Catherine. "The Politics and Pedagogy of Young People's Digital Media Participation." Thesis, 2011. http://hdl.handle.net/1807/31702.
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In this thesis I survey the terrain of digital interactions between youth, corporations and pop culture texts in order to complicate current visions of participatory culture. I argue that popular images of the empowered young users of a new digital democracy need to be complicated by asking questions about the politics of digital participation: about whose voices are heard, about where attention is centred, about how interactivity is defined, about who is rewarded for creative labour. The opening chapter introduces key issues within a critical examination of digital participation, including commodification, user agency and intellectual property. It also outlines my methodologies and my choice of research site – namely internet television, and the proliferation of corporate and youth practices around digitized television texts. The next two chapters provide case studies that identify and evaluate not only the interactions between corporate producers and young users, but also the power relations between the two. First, I analyze young women‘s video remixes of the program Gossip Girl. I consider the remixes as gendered texts that contribute new aesthetics and concerns, even as they reproduce dominant interpretations of contemporary girlhood. I also consider the distribution of the videos on YouTube, noting how their circulation simultaneously challenges corporate ownership and creates profit and promotion for those same corporate owners. Next, I examine interactions around the The Colbert Report. Focusing on the program‘s official discussion boards, I demonstrate how young fans have taken up Stephen Colbert‘s invitation to join in the parody by creating a vibrant, dialogic and rowdy community that has frequently come into conflict with Comedy Central producers. In their attempts to address these conflicts and create alternative spaces of their own, these young people gesture towards larger tensions over the control of public digital dialogue. The final chapter draws on my research and experience as a teacher to consider how these case studies might help us to frame our own educational projects. I call for a digital literacy curriculum that provides both a place for students to reflect on their daily activities within mediated environments and the opportunity to experiment with digital production.
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Suhr, Hiesun Cecilia. "The mutation of cultural values, popularity, and aesthetic tastes in the age of convergence culture social networking practices of musicians /." 2010. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.000052270.
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Pitcher, Sandra. "The mass collaboration of digital information : an ethical examination of YouTube and intellectual property rights." Thesis, 2010. http://hdl.handle.net/10413/565.
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The Internet has been lauded as an open and free platform from which one is able to engage with, and share large amounts of information (Stallman, 1997). As one witnesses the shift from analogue media to digitalism, so too is it possible to note a change in cultural practices of media consumers. Users of the media can now be viewed as “prosumers”, producing as well as consuming media products (Marshall, 2004). Digital media users have been given the ability to engineer their own unique media experiences, especially within the realms of the Internet. However, this process has seemingly led to mass copyright infringement as Internet users appropriate various movies, music, television programmes, photographs and animations in order to create such an experience. The art of digital mashing in particular, has been deemed an explicit exploitation of intellectual property rights as it re-cuts, re-mixes and re-broadcasts popular media in a number of alternative ways. YouTube especially has been at the forefront of the copyright furore surrounding digital mash-ups because it allows online users the facility to post and share these video clips freely with other online users. While YouTube claims that they do not promote the illegal use of copyrighted material, they simultaneously acknowledge that they do not actively patrol that which is posted on their website. As such, copyright infringement appears seemingly rife as users share their own versions of popular media through the art of digital mashing. This dissertation however, explores the concept that the creation of mash-ups is not undermining intellectual property rights, but instead produces a new avenue from which culture can emerge. It highlights how Internet users are utilising the culture which surrounds them in an attempt to navigate the new social structures of the online, subsequently arguing that mash-ups are an important element of defining a new postmodern culture, and that the traditional copyright laws of analogue need to be modified in order to secure the development of new and emerging societal structures.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.
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""You're Getting to be a Habit with Me": Diegetic Music, Narrative, and Discourse in "Bioshock"." Thesis, 2015. http://hdl.handle.net/10388/ETD-2015-09-2233.
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In 2K Games’ Bioshock (2007) the player, as the protagonist Jack, is thrown into a dystopian, futuristic alternate history of America. Rapture is an underwater city saturated in music: popular songs from the mid twentieth century; classical-style soundtrack pieces composed by Garry Schyman; characters humming, singing, whistling or playing instruments; musical vending machines; and even the sounds of whales and other creatures all participate in forming a textured soundscape. The songs from the 1930s - 50s used throughout Bioshock recall a real-world cultural environment—a popular music culture that is both comfortably recognizable yet strangely unfamiliar. They occur within the game world and are heard by the player and game characters, and thus the songs are diegetic or “screen music.” In Bioshock, such music is an explicit component of narrative production, game environment creation, and player immersion. Significantly, diegetic music participates in the construction of narrative through a constant interplay or negotiation with the video game’s other elements—visual, textual, ludic—and ultimately functions as a distinct discourse able to mediate for Jack/the player between contesting factors, via established conventional codes of musical, cultural, film, and now video game signification. Bioshock’s use of music initiates a pre-game discourse during installation and prior to every game session in the disc-loading scenes, and this musical discourse is continued throughout the narrative. The story’s opening and descent into Rapture further establishes and “naturalizes” the presence of diegetic music as part of the story being told, and as a vital component of the audio-visual environment enhances player immersion. At the same time, these opening instances and subsequent occurrences of diegetic music at significant points in the story demonstrate that music’s culturally encoded emotive potential produces ironic and poignant effects, while its lyrical intertextuality generates narratological and ludic commentary in various song/scene pairings.