Esta pesquisa se insere nas linhas de investigação do Centro de Pesquisa ATOPOS, da Escola de Comunicações e Artes da Universidade de São Paulo (ECA/USP) sobre os aspectos teóricos das mídias digitais. Seu objetivo é analisar o impacto das transformações midiáticas na sociedade, em especial o impacto causado pelas novas tecnologias digitais sobre as formas de organização social. Partindo de uma perspectiva que abandona a visão instrumentalista das tecnologias midiáticas, passando a considerálas como elementos ativos na construção da subjetividade humana e, por consequência, na forma como o homem se relaciona com o mundo, analisamos como a simbiose homemredes digitais proporciona uma experiência tecnosocial baseada na colaboração, isto é, no labor conjunto visando a ação. Nesse percurso, fazemos um resgate histórico sobre a relação transformações midiáticassociedade, estudamos o conceito de rede e dialogamos sobre o conceito de ação / ação social. Empiricamente, nos apoiamos em nossa trajetória através de experiências colaborativas em redes digitais, além de realizar pesquisas e observações específicas para este trabalho. / This research fits into the lines of investigation of the ATOPOS Research Center of Escola de Comunicação e Artes da Universidade de São Paulo [School of Communication and Arts of the University of São Paulo] (ECA/USP) on the theoretical aspects of digital media. Its goal is to analyze the impact of media changes in society, in particular the impact caused by new digital technologies on the forms of social organization. From a perspective that leaves the instrumentalist view of technology media, going to consider them as active elements in the construction of human subjectivity, and consequently, in how humans relate to the world, we analyze how the symbiosis of mandigital networks provides a technosocial experiment based on co-labor-a(c)tion, ie, in joint work aimed at the action. Along that way, we make a historical transformations on the mediasociety relationship, we studied the concept of networking and dialogue on the concept of action / social action. Empirically, we rely on our path through collaborative experiences in digital networks, and conduct research and observations specific to this work.

The issue of high school dropouts has been an ongoing concern for educators, community stakeholders, and politicians on local, national, and global levels. Little was known about students' experiences before they enrolled in a workforce development program and how their earlier experiences may have caused them to drop out of high school. The purpose of this qualitative descriptive case study was to understand the school-related experiences of high school dropouts enrolled in a workforce development program, and how the innovation and integration of social media technologies during academic instruction helped reengage these learners. The research questions focused on how the participants described their personal and academic experiences before they dropped out of high school, their collaborative learning and social-relational experiences while enrolled in the New Hope workforce development program, and how the infusion of social media technologies during academic instruction impacted their development. Yin's descriptive qualitative case study model was used to capture the academic and social experiences of 20 program participants from one-on-one interviews and focus groups. Cross-unit evaluation was used to identify emerging codes and themes. Results revealed the importance of sustainable relationships between the students and instructors. Findings may be used to promote functional learning communities with conscientious and compassionate instructors.

Die moderne Kultur- und Sozialgeschichte lässt sich – auf den Ebenen des Transports, der Informationsübertragung und der interpersonellen Kommunikation – als ein sich permanent steigernder Beschleunigungsprozess beschreiben. Insbesondere neuartige Medientechnologien verkürzen die zeitlichen Intervalle der Kommunikation zunehmend. Es ist davon auszugehen, dass sich die dem Geschwindigkeitsimperativ unterliegenden neuen Kommunikationsbedingungen in sprachlichen Innovationen niederschlagen und diese wiederum Indikatoren für Sprachwandel sind. In der jüngsten linguistischen Forschung wird allerdings vielfach die These geäußert, der Sprachgebrauch in den neuen Medien indiziere fundamentale Veränderungen der Schriftlichkeit und führe zu einem sprachlichen Verfall besonderen Ausmaßes. Diese These soll am Beispiel schriftbasierter Alltagskommunikation – vom Telegramm über den Brief und der Internetkommunikation bis hin zur SMS-Kommunikation – in medien-, kultur- und texthistorischen Zusammenhängen überprüft werden. Es geht darum, die kulturhistorischen Modalitäten der Medien- und Beschleunigungsgenese aufzudecken und spezifische mediale und kontextuelle Bedingungen sprachlicher Veränderungen herauszustellen. / It is generally considered that the modern history of culture is widely influenced by a permanent process of increasing acceleration. This social trend occurs on different levels, such as public transport, information transport and interpersonal communication. Particularly, new emerging media technologies are abbreviating the temporal intervals of daily communication increasingly. Starting from this premise, it can be assumed that new conditions of communication based on speed imperatives result in special linguistic innovations. In doing so, these innovations clearly reveal the mechanisms of language change. However, in recent linguistic debates, it is frequently asserted that the use of language in new media applications causes fundamental changes of written language and, moreover, results in a language decay of exceeding extent. By pulling together several strands of empirical evidence and conceptual approaches this thesis is to be examined by the example of written-based everyday life communication, i.e. telegram, letter and Internet communication up to SMS communication - within a medial, cultural and text-historical context. The objective of this paper is to investigate the culture-historical modalities of media and acceleration genesis and to point specific medial and contextual conditions out of language change.

Esta pesquisa se insere nas linhas de investigação do Centro de Pesquisa ATOPOS, da Escola de Comunicações e Artes da Universidade de São Paulo (ECA/USP) sobre os aspectos teóricos das mídias digitais. Seu objetivo é analisar o impacto das transformações midiáticas na sociedade, em especial o impacto causado pelas novas tecnologias digitais sobre as formas de organização social. Partindo de uma perspectiva que abandona a visão instrumentalista das tecnologias midiáticas, passando a considerálas como elementos ativos na construção da subjetividade humana e, por consequência, na forma como o homem se relaciona com o mundo, analisamos como a simbiose homemredes digitais proporciona uma experiência tecnosocial baseada na colaboração, isto é, no labor conjunto visando a ação. Nesse percurso, fazemos um resgate histórico sobre a relação transformações midiáticassociedade, estudamos o conceito de rede e dialogamos sobre o conceito de ação / ação social. Empiricamente, nos apoiamos em nossa trajetória através de experiências colaborativas em redes digitais, além de realizar pesquisas e observações específicas para este trabalho. / This research fits into the lines of investigation of the ATOPOS Research Center of Escola de Comunicação e Artes da Universidade de São Paulo [School of Communication and Arts of the University of São Paulo] (ECA/USP) on the theoretical aspects of digital media. Its goal is to analyze the impact of media changes in society, in particular the impact caused by new digital technologies on the forms of social organization. From a perspective that leaves the instrumentalist view of technology media, going to consider them as active elements in the construction of human subjectivity, and consequently, in how humans relate to the world, we analyze how the symbiosis of mandigital networks provides a technosocial experiment based on co-labor-a(c)tion, ie, in joint work aimed at the action. Along that way, we make a historical transformations on the mediasociety relationship, we studied the concept of networking and dialogue on the concept of action / social action. Empirically, we rely on our path through collaborative experiences in digital networks, and conduct research and observations specific to this work.

The work in this thesis sets out to explore how students perceive social media use in the context of higher education. More precisely, the focus is on students' use of, experience with, and attitudes toward the integration of social media into their learning environment. To complement this, teachers' incentives for including social media have been studied; to some extent their communication, attitudes, and online activity were also analyzed. The four different studies included in this thesis incorporated three major types of social media technologies: a social networking service (Facebook), a collaborative editable webpage (Wikipedia), and a microblog (Twitter). The studies adopted different approaches to data collection and analysis, including both qualitative and quantitative methods. The specific methods for each study were chosen to accommodate the research questions, for reasons of access to information, and due to ethical considerations. While each study differs in starting point and scope and provide particular contributions to the research area, the main contributions of the work as a whole are connected to findings on attitude changes, the professional role in students' use of social media, their teacher-like actions, confusion regarding moving between the identified roles, and the implementation of social media in higher education. The findings presented here are appropriate for guiding a nuanced discussion regarding the implementation of social media technologies in higher education, an implementation that was found to be contingent on appropriate use and a suitable social context. The findings suggest that the inclusion of social media in non-private contexts generally needs to have a clear aim and strategy for achieving it. The roles defined in this work - in terms of both being a student and the private and professional roles - could also serve as the basis for further exploration in other areas with comparable hierarchies in which it is necessary to understand how the individual relates to self-presentation, technological constraints, and roles, such as the relation between an employer and employee. / Denna avhandling avser att utforska hur studenter upplever användningen av sociala medier i högre utbildning. Närmare bestämt så ligger fokus på studenternas användning, erfarenhet och attityder till sociala medier när dessa integrerats i studenternas lärmiljö. Som komplement har också lärarnas incitament för inkludering av sociala medier belysts, samt i viss utsträckning även deras attityder, användning och kommunikation i respektive socialt medium. Fyra olika studier inkluderas i denna avhandling, och inkorporerar i sin tur tre olika typer av sociala medier: en social nätverkstjänst (Facebook), en publikt redigerbar webbplats (Wikipedia), och en mikroblogg (Twitter). Vidare har studierna använt olika metoder för datainsamling och analys, där både kvalitativa samt kvantitativa metoder finns representerade. Metoderna valdes med hänsyn till forskningsfrågorna, men baserades även på informationstillgång och etiska överväganden. De enskilda studierna hade olika syften och omfattning, och därigenom har de bidragit till specifika forskningsfynd. Huvudbidraget från detta arbete är kopplat till slutsatser kring studenters attitydförändringar, den professionella rollen i studenters användning av sociala medier, deras lärarliknande agerande, förvirring beträffande att röra sig mellan de identifierade rollerna, och implementeringen av sociala medier i högre utbildning. Resultaten utgör en grund för en nyanserad diskussion kring implementeringen av sociala medier i högre utbildning; en implementation som beror på lämpligt användande i lämplig social kontext. En tolkning av detta är att inkluderande av sociala medier i icke-privata kontexter bör ha ett klart mål och en tydlig strategi. Rollerna som definieras i detta arbete - student, privat och professionell - utgör underlag för utforskande inom områden där jämförbara hierarkier finns representerade och där det är nödvändigt att förstå hur individen förhåller sig till självpresentation, tekniska begränsningar och roller. Exempel på ett sådant är relationen mellan arbetsgivare och arbetstagare. / <p>QC 20171211</p>

This study was to compare the attitudes in terms of sex and current position, and to investigate the attitudes of faculty members in Open Universities in Thailand toward media technologies in terms of age, education, and teaching experience. A 25-statement questionnaire, with a reliability of 0.91 for measuring attitudes, was used to gather the data. The total stratified random sampling population was 300 faculty members in the Open Universities, 272 from Ramkhamhaeng University (RU) and 28 from Sukhothai Thammathirat Open University (STOU). The returned rate of the questionnaire was 244 (81.33%), 219 (80.51%) from RU and 25 (89.28%) from STOU. The t test was used to test significant differences between males and females, and administrators and faculties. The one-way analysis of variance was used to test significant differences among the levels of age, education, and teaching experience. The results of this study indicated that the attitudes of faculty members in Open Universities in Thailand toward media technologies were not significantly different in terms of sex, age, education, teaching experience, and current position. The faculty members considered the use of (1) closed circuit television as the form of media which enhanced teaching quality and student learning in virtually all instructional contents, aided instructors, improved instruction, and was readily available; (2) television as the form of media which made the content of the course more clear for students, promoted students* independent study, increased student motivation, was helpful to instructors in improving instruction, and was cost-beneficial; (3) radio as the form of media most frequently used in the past; (4) overhead projector as the form of media most manageable in the teaching process; (5) laser disc player as the form of media too complex for efficient classroom use; and (6) interactive video systems as the form of media most inhibiting to instructors.

Extreme right-wing violence has increased in recent years. Social media technologies and self-made media platforms have allowed extreme right-wing groups to create and push narratives online. These narratives have inspired others to act outside of the digital world and commit horrendous [GH1] attacks targeting minorities. These narratives are also published in a hybrid media system where audience-driven content is favored by social media, rather than objective and correct content. Therefore, it is important to understand the use of digital storytelling and social media technologies in a political context to push political views and stories online. This thesis studied how The Nordic Resistance Movement (NRM) uses digital storytelling strategies to build and push narratives on Twitter and self-made media platforms. This was conducted through a network and qualitative content analysis. 400 000 tweets were collected using Twitter’s API from 1/1-2022 to 31/3-2022. The outcome indicates that NRM dilutes its hateful narrative on Twitter but uses digital storytelling to evoke interest in the movement and combines it with influential hashtags according to the network analysis to force users onto self-made media platforms. This is when the narrative changes to the extreme. The study concludes that NRM uses social media in combination with its digital storytelling to attract users from traditional political spaces on Twitter through intriguing storytelling as part of an initiation process to attract new members and visitors to their self-made media platforms. Further research is suggested to be done on media ecology concerning self-made media platforms to gain further insight into how the platforms affect each other and the storytelling in the hybrid media system.

The emergence of new media technologies has influenced the broadcasting marketplace causing it to evolve and become more competitive. The various platforms that new media technologies have made available for content repurposing and the increased number of channels available via digital television and radio has altered the landscape of the public service broadcaster in an unprecedented manner. Thus, questioning its viability amongst the other private media organisations whose core focus is on commercialisation of content rather than serving the public interest. Based on the case study of the South African Broadcasting Corporation (SABC), this study articulates the influence of new media broadcasting on the public broadcaster’s business model and value chain. It investigated the legitimacy of public service broadcasting in the new media age. This study examined the current status of the SABC’s broadcasting policy and concluded that there is urgency for policy revisions to be fast tracked.

As our consumption behaviours of media and entertainment change in the age of new media technologies, the means of production change with them. Filmmaking usually follows a set procedure (often with clear hierarchy and specialised roles in the crew) and the flow of the narration has traditionally followed a one-way direction, from the producing part (the producer/director) to the receiving part (the audience). But since the arrival of the internet, its disruption of the industry has opened up for an increased dialogue between the two, turning the receiving part to a contributing one. This has resulted in a wider democratisation of the medium, where the once passive audience now becomes more involved in the creative production process. Crowdsourcing, already used frequently in service industries and product design processes, has become an alternative method of creative content creation. Made possible through the use of social media channels, entire films are now being created with material submitted by its audience. This study aims to answer the research questions: “What is required in order to use crowdsourcing successfully in filmmaking?”, as well as the sub-questions “What role has social media played in the making of crowdsourced films?” and “Is there a future in crowdsourcing within filmmaking?” Six cases of film and series productions, each of different formats, were analysed; two documentary films, three web series and one TV show. In this study, the production approach for each case has been investigated, in order to see how they have used crowdsourcing in their processes. Five qualitative semi-structured interviews were conducted and each interviewee had held key positions in the making of their respective production. The findings showed the strong need for having an already well-established community in place before undertaking a crowdsourced endeavour. The use of social media also appears to be one of the fundamentally enabling factors for these types of projects, since it provides a platform for an immediate dialogue between the two parties. Using crowdsourcing in film will presumably continue, but the method has still considerable unexplored potential. Because of it’s ingrained dependence on social media, future research could benefit from exploring interdisciplinary collaboration between filmmaking and interactive media technologies. / Samtidigt som att våra beteendemönster i hur vi konsumerar media förändras i takt med att nya medieteknologier uppstår, förändras också sättet media produceras. Filmskapande följer många gånger en särskild process (ofta med en tydlig hierarki av specialister inom produktionsgruppen) och berättelsen har traditionellt sett berättats från en part till den andre – från producenten/regissören till publiken. Men internets intåg har i många avseenden förändrat filmindustrin, vilket har öppnat upp för en ökad dialog mellan dessa två parter, vilket har omformat publikens position till en mer medskapande sådan. Detta har resulterat i enstörre demokratisering av filmmediet, där den en gång passiva publiken nu involverar sig mer i den kreativa filmskapandeprocessen. Crowdsourcing, som redan är vanligt förekommande inom exempelvis produktdesign och serviceindustrier, har blivit en alternativ metod för att skapa kreativt innehåll. Med sociala medier som en möjliggörande faktor skapas hela filmer endast med hjälp av material inskickat från den framtida publiken. Denna studie ämnar svara på problemformuleringarna: "Vad krävs för att framgångsrikt använda crowdsourcing inom filmproduktion?", samt delfrågorna "Vilken roll har sociala medier spelat i skapandet av crowdsourcadefilmer?" och "Finns det någon framtid för crowdsourcing inom filmskapande?" Sex stycken film- och serie-produktioner av olika format har analyserats: två dokumentärer, tre webbserier och en TV-show. Denna studie har undersökt hur varje produktion har använt sig av crowdsourcing i dess produktionsprocess. Utöver det har en kvalitativ undersökning genom fem semistrukturerade intervjuer genomförts, där varje intervjuobjekt har haft nyckelpositioner inom respektive produktion. Resultaten visade på ett starkt behov av att ha en redan väletablerad skara av följare eller ambassadörer innan man startar en crowdsourcing-kampanj. Sociala medier visade sig också vara en fundamental beståndsdel i möjliggörandet av detta, eftersom de skapar en omedelbar tvåvägskommunikation mellan producenten och publiken. Användandet av crowdsourcing kommer förmodligen att fortsätta, och metoden har fortfarande en ansenlig outforskad potential. Med anledning av metodens beroende av sociala medier, kommer fortsatt forskning inom området troligtvis att gynnas av att utforska samarbeten mellan filmskapande och interaktiva medier.

Made available in DSpace on 2016-04-26T18:11:50Z (GMT). No. of bitstreams: 1 Gabriel Menotti Gonring.pdf: 17653281 bytes, checksum: 35f5e728825b50d5ba3289485ce26cb6 (MD5) Previous issue date: 2012-06-22 / Itaú Cultural / Under the light of the recent developments in mass media and computer technologies, this thesis proposes a relational perspective that allows us to evaluate the creative autonomy of curatorial practices in other words, the capacity of the curator to intervene in the meaning and value of the artist s work, and even to be able to create meaning and value with her own activity. Departing from ideas of Cecília Salles and Bruno Latour, we established that an artwork, more than an autonomous gesture or singular artefact, is the manifestation of disputed networks of intersubjective processes. The importance of the activity of the curator in these networks is underscored by a close reading of the history of art exhibitions from the middle of the 19th century until today, the period in which the profession of curator as we know it has been established. This is based on critical studies such as those of Karsten Schubert, Nicholas Serota, Brian O Doherty and Mary Anne Staniszewski. Simultaneously, we analyse how curatorial practices have been transformed in relation to art making, changing its scope according to the way media systems were incorporated by creative processes. In that sense, we propose that such practices do not operate only in the conservation and exhibition of artworks, but rather participate actively of its dynamics of production and consumption. Finally, another way of understanding the work is proposed by the means of the concept of exhibition design, which would create an intersection between the fields of media, arts and design, allowing us to understand in detail how these disciplines interact and influence each other historically, specially in what concern the negotiation of the limits of creative activity in each of them. This approach is exercised in the making of the exhibition Denied Distances, employing curatorial practices as a self-reflexive opportunity to promote a deeper understanding about their own intervention in creative networks. Besides calling our attention to the degree of influence of the curator in the communication of art making, such methodology underscored the role of contingencies and institutional realities in the work of the independent curator / À luz do desenvolvimento dos meios de comunicação de massa e das tecnologias telemáticas, essa tese tem o objetivo de propor uma perspectiva relacional que nos permita avaliar a autonomia criativa das práticas curatoriais em outras palavras, a capacidade do curador de intervir no valor e sentido do trabalho do artista, e mesmo de ser ele próprio apto a criar valor e sentido com a sua atuação. Partido de teorias de Cecília Salles e Bruno Latour, estabelecemos que a obra de arte, mais do que um gesto autônomo ou artefato singular, é uma manifestação de disputadas redes de processos intersubjetivos. Buscamos ressaltar a preponderância da atividade do curador nessas redes ao acompanhar a história das exposições de arte desde meados do século XIX até os dias de hoje, período em que a profissão como a conhecemos atualmente tomou forma. Esse estudo tem por base levantamentos críticos como os de Karsten Schubert, Nicholas Serota, Brian O Doherty e Mary Anne Staniszewski. Simultaneamente, analisamos como as práticas curatoriais se transformaram em relação ao fazer artístico, alterando seu escopo na medida em que os processos de criação se deixaram contaminar por sistemas midiáticos. Nesse sentido, concluímos que tais práticas atuem não apenas na conservação e divulgação das obras, mas participem ativamente das dinâmicas de produção e consumo do trabalho de arte. Por fim, sugerimos outra forma de entender a obra em exposição com base no conceito de arranjo expositivo, que possibilita uma intersecção entre a comunicação, as artes e o design, nos permitindo apreender de maneira mais detalhada o modo como esses campos interagem e se influenciam historicamente, especialmente no que se refere à negociação dos limites de atuação criativa em cada um deles. Exercitamos essa abordagem na realização da mostra Distâncias Negadas, utilizando a própria prática curatorial como uma oportunidade autorreflexiva, de maneira a compreender o seu desempenho nas redes de criação. Além de chamar atenção para o grau de influência do curador na comunicação do fazer artístico, tal metodologia salientou o papel das contingências e realidades institucionais na atuação do curador independente