This dissertation project seeks to answer questions at the intersection of performance and new media with special attention to aesthetic practice. Primarily, the central issue at stake is the issue of material relationships between bodies and technologies as put into practice in a variety of aesthetic forms, including net art, staged performance, and internet memes. After an introduction, the second chapter discusses the method of analysis, schizoanalysis, in depth, drawing from the work of both Deleuze and Guattari as collaborators and Guattari’s extensive solo work. The next chapter addresses the new materialist paradigm that acts as the foundational commitment for seeing staged performances and digital performances as overlapping categories of phenomena. From there, the analysis shifts to questions of ontology, including the impact of naming certain behaviors on the understanding of those behaviors as well as the nature of performance itself. Just as Peggy Phelan asserts that performance is ephemeral, immediate, and nonreproducible, one can see encounters with new media under this same framework. The following three chapters act as specific case studies, using screen theory to understand staged performances, sequential art theory to explain the relationships between disparate parts of both new mediated and staged performance, and theories of identity and gender to understand selfies as constructive digital performances. Though this project offers no guarantees or certitudes, certain themes did emerge through the analysis, such as the place of the body in discourses of technology; connections between the audience and the art object, the art object and its environment, and the audience and the environment; and the impact of time, especially immediacy, on the understanding of both staged and mediated works. The hope of this project is necessarily one of offering answer, but instead of point to new questions and offering some starting points for further consideration.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-09-03T11:39:28Z No. of bitstreams: 2 Dissertação - Wânia Gomes Mariano Vieira - 2018.pdf: 2073027 bytes, checksum: dd87ae7df0e18dfd533c8c2d66b49a1c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-09-03T11:39:54Z (GMT) No. of bitstreams: 2 Dissertação - Wânia Gomes Mariano Vieira - 2018.pdf: 2073027 bytes, checksum: dd87ae7df0e18dfd533c8c2d66b49a1c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-09-03T11:39:55Z (GMT). No. of bitstreams: 2 Dissertação - Wânia Gomes Mariano Vieira - 2018.pdf: 2073027 bytes, checksum: dd87ae7df0e18dfd533c8c2d66b49a1c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-08-02 / Social networks take advantage of dialogues between subjects that are found immersed in a technological context, permitting the construction of the social subject considering that interaction. Thinking about this, this dissertation presents some contributions of the Bakhtin Circle for analysis and comprehension of the verb-visual statement found in the discursive materialities of memes, located on Facebook regarding the theme of the subject as a teacher and stereotypes formed from the different effects of meaning that arise from the meme’s statements. Our general objective is the analyzation of memes related to teachers and their verb-visual statements while considering possible dialogues about their identity. In specific objectives, we set out to identify and evaluate the stereotypes built around the teacher and which social situation are triggered in the meme’s statements. In addition, we reflect on the identification processes connected to the identities of the teacher. We understand, above all, that there is a set of influences of the image that the media creates about the subject through memes, represented in a ridiculous way in the social environment. Propagated memes seem to democratize the subject about practices and images seen as a bias of humor. In this aspect, the virtual media has an important role in legitimizing new and old stereotypes because they refract positive and negative concepts about the teacher and their profession.To this end, such a proposal of analysis is only possible in the light of the Bakhtinian presuppositions from the communication perspective of language philosophy, and we have as the orienting principal the discursive-dialogical-ideological axis, in which we find opportune ground to constitute the corpus of research with the four memes analyzed. We are anchored in conceptions of dialogue, verbal interaction, discursive genre and statement (BAKHTIN, 1997, 2011; VOLOCHÍNOV, 2017, 2013, 2005), stereotypes (AMOSSY, 2008), ethos (MAINGUENEAU, 2008a,2008b, 2011). We find that the simulacrum of the voices of artists, anonymous voices, and voices of the professors themselves, articulate an ironic and satirized perspective of the subject and exert a power to speak. They echo in a chorus effects of meaning that simplifies educational problems and teacher identities masked by humor discourse. / As redes sociais oportunizam relações dialógicas entre os sujeitos, que se encontram imersos no contexto tecnológico, permitindo uma interação que os constitui como sujeitos sociais. Pensando nisso, esta dissertação apresenta algumas reflexões teóricas fundamentadas no Círculo de Bakhtin, para análise e compreensão do enunciado verbo-visual, a partir de materialidades discursivas dos memes, pesquisados no Facebook, sobre a temática do sujeito professor e os estereótipos formados pelos diversos efeitos de sentido que emanam dos enunciados dos memes. Nosso objetivo geral é analisar os memes e o enunciado verbo-visual sobre o docente, considerando possíveis diálogos acerca de sua identidade. Nos objetivos específicos, identificamos quais são os estereótipos construídos sobre o professor e quais aspectos da situação social do enunciado podem ser acionados nos memes; além disso, refletimos sobre os processos identitários em relação às identidades sociais do professor. Entendemos, sobretudo, que há um jogo de influências da imagem que a mídia cria sobre esse sujeito através dos memes, representado de forma ridicularizada no meio social. Os memes propagados parecem democratizar o assunto sobre as práticas e a imagem do sujeito professor, visto sob o viés do humor. Nesse aspecto, a mídia virtual tem um papel importante na legitimação de novos e antigos estereótipos que circulam no cotidiano, por refratarem conceitos positivos e negativos sobre o sujeito docente e sua profissão. Para tanto, tal proposta de análise é possível à luz dos pressupostos bakhtinianos, na perspectiva dialógica da filosofia da linguagem, e temos como orientação principal o eixo discursivo-dialógico-ideológico, no qual encontramos terreno propício para constituir o corpus de pesquisa com os quatro memes analisados. Ancoramo-nos nas concepções de diálogo, interação verbal, gênero discursivo e enunciado (BAKHTIN, 1997, 2011; VOLÓCHINOV, 2017, 2013, 2005), estereótipo (AMOSSY, 2008), ethos discursivo (MAINGUENEAU, 2008a, 2008b, 2011). Constatamos que, sob o simulacro de vozes de artistas, vozes anônimas e vozes dos próprios professores, os memes que articulam uma perspectiva irônica e satirizada do sujeito professor exercem um poder de dizer. Ecoam em um coro de efeitos de sentido que simplificam os problemas educacionais e as identidades docentes mascaradas pelo discurso do humor.

Is a meme just a humorous composition made to make people laugh, or does it have potential to connote something more? This became the question that gave this article life and emerged when the official Twitter account of Ukraine posted memes mid-war. In order to examine whether a meme has potential to connote something more this article studied memes with the questions RQ1: Do memes function as a multimodal tool for intermediation of narratives and societal discourses on the official Twitter account of Ukraine? RQ2: Which semiotic choices in language and visual communication mainly appear in the memes?  RQ3: How do the main semiotic choices in the memes interact with each other? RQ4: Are, for Ukraine, societal discourses and/or narratives present within the memes? Four memes were collected from the official Twitter account of Ukraine and analyzed with a multimodal critical discourse analysis. Drawing on Fisher's narrative paradigm, this article argues that the use of a meme can be seen as storytelling. In order to investigate the nature of a meme and to understand how a meme can mediate discourse, we draw on Shifman and critical discourse in our analysis. Linking our analysis to former research is done to help the reader understand the multifaceted nature of a meme. The result of this study shows that a meme in this particular case can be used as a multimodal communicative tool for storytelling and the mediating of social discourses, therefore further studies on the subject of memes are recommended.

We chose to base our literature study on the meme phenomena. The meme is a portion of culture that is spread among us from mind to mind. Every time we learn something by copying others we use information that has been passed on from a previous person, that information can be seen as a meme. The theoretical frame for our methodology in our exam paper is founded on Forsberg och Wengström research on literature studies. Our aim is to describe to the reader in depth what a meme is and how they could be helpful in an academic and pedagogical setting.Our study will show how memes are seen predominantly as graphic designs and as artifacts for cultural representation parallel to their imagery. This means that the cultural reference is only clear to the beholder if they have corresponding prior knowledge to the reference.Our study will also show via concrete examples how this could be used in school settings and as pedagogical tools in the classroom.

The mediatization of society has gradually led to an increasingly prominent presence of music in our daily lives, a process which Tobias Pontara and Ulrik Volgsten refer to as musicalization. One media platform that has experienced rapid growth in recent years is TikTok, which, with its one billion users, has become a hub for music discovery and distribution. TikTok's interface fosters a participatory culture, where users actively engage in musical challenges and memes. In this paper, I examine musical memes as a phenomenon and explore their influence on society's musicalization process. By examining TikTok's user interface and its self-promotion strategies, it becomes apparent that the platform aims to establish itself as a contemporary music medium. The app's features actively encourage users to utilize music and dances as a tool for storytelling and community-building. TikTok's rise in the media landscape has led to a mediatization process where other media adapt to TikTok's logic, and due to music being such a central part of the platform, it contributes to an increased presence of music in our day-to-day lives.

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Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-17T14:13:49Z No. of bitstreams: 1 kriciahelenabarreto.pdf: 3497141 bytes, checksum: 31704e8e9549f637c3c5ef61daf9437b (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-17T18:01:56Z (GMT) No. of bitstreams: 1 kriciahelenabarreto.pdf: 3497141 bytes, checksum: 31704e8e9549f637c3c5ef61daf9437b (MD5) / Made available in DSpace on 2015-12-17T18:01:56Z (GMT). No. of bitstreams: 1 kriciahelenabarreto.pdf: 3497141 bytes, checksum: 31704e8e9549f637c3c5ef61daf9437b (MD5) Previous issue date: 2015-10-06 / Este estudo tem como objeto o fenômeno conhecido como “memes de Internet”, produzidos no ambiente virtual do website denominado <9gag>, tendo sido focalizada a seção de comentários realizados sobre os memes postados por seus participantes. A partir de uma perspectiva interacional dos estudos do discurso, investigamos a maneira como a replicação dos memes de Internet sinaliza as práticas rituais constitutivas desse grupo e afeta a forma como as faces dos participantes são co-construídas e negociadas no curso da interação. Os rituais e as faces reivindicadas são vistos, então, como práticas que emergem e são sensíveis ao aqui e agora do uso da linguagem nesse contexto. As práticas de reprodução memética, compreendidas como unidades de transmissão cultural e de difusão da informação, fundamentadas na imitação, quando analisadas sob a perspectiva dos rituais relacionais (Kádár, 2013), vão muito além do simples entretenimento dentro de um grupo como o <9gag>. Elas auxiliam na formação e na manutenção do ethos dessa comunidade virtual, fornecendo o status de membros legítimos àqueles que acatam as regras interacionais estabelecidas através dessas práticas. A participação e o alinhamento às práticas rituais do grupo gerou o sentimento de pertencimento e identificação entre os participantes, legitimando-os como membros dessa comunidade, unidos pelo compartilhamento dos valores disseminados pelos memes, do conhecimento das práticas do grupo, e das representações simbólicas construídas pelo grupo. Além disso, através dos processos de elaboração das faces, pudemos verificar como os interagentes modelam as interações da comunidade ao se (des-)alinharem com os tipos de face que emergem nesse website. / The object of this study is the phenomenon known as ‘Internet memes’, produced within a virtual environment, in a website called <9gag>. The comments section was the main focus of analysis. From an interactional perspective on discourse, it has been investigated the way Internet meme replication signals ritual practices constitutive of this group and how it affects the way participants’ faces are co-constructed and negotiated in the course of interaction. Thus, rituals and faces claimed are seen as emergent practices that are sensitive to the interactional here-and-now of language use in this context. Meme-replication practices (understood as units of cultural transmission and dissemination of information, based on imitation), when analysed from the perspective of relational rituals (Kádár, 2013), have interactional effects that go beyond simply entertaining a group such as <9gag>. They help build and maintain the ethos of this virtual community, by giving membership status to those participants who abide by the interactional rules established through these practices. Participation and alignment with the group’s ritual practices have generated the feeling of belonging through identification among participants, legitimating them as members of this community, connected by the sharing of values disseminated by memes, the knowledge of the group’s practices and the symbolic representations constructed by the group. Moreover, it has been verified that through facework processes interactants model interactions within this community by (dis-)affiliating themselves with the types of face that emerge in this website.

This diploma thesis deals with the phenomenon of Internet memes. The theory of memes came from the evolutionary biologist R. Dawkins in the late 1970s, as a cultural analogy of genes. Decades later, the term "meme" began to appear in Internet culture in conjuction with Internet jokes. This thesis works with the concepts of meme, virality, spreadable media and media convegence. All of these terms define the current Internet environment. The diploma thesis is based mainly on books by L. Shifman: Memes in Digital Culture, H. Jenkins: Convergence Culture: Where Old and New Media Collide and Spreadable Media: Creating Value and Meaning in a Networked Culture (co-authored) and K. Nahon and J. Hemsley: Going Viral. This diploma thesis deals with the definition of the term meme and its differentiation from the term virality, because for the average Internet user, these two terms are synonymous. The thesis describes meme genres, phases of the creation of Internet memes, which arise mainly from spreadble media and on the basis of which principles are memes created and what factors contribute to their spread in cyberspace. The analytical part consists of a contextual analysis of selected Internet memes, which demonstrates how digital manipulation changes the context of memes in which the meme can be used and how this...

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. / <p>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 </p>

Author: Raffael Antonio Title: The politics are a joke - a qualitative interview analysis about the view of media consuments on memes and Greta Thunberg.   The purpose of this study is to look closely at the media consumers and their views on political memes and how other consumers and producers on social media are producing Greta Thunberg as a political figure by the help of memes.    The analysis has been done by qualitative semi-structured interviews with people as regular social media consumers. This was made by an interview guide with semi-structured questions about political memes, politics on social media and how Greta Thunberg is produced by meme creators according to the consumers.    The results have shown that there are two groups when it comes to Greta Thunberg on social media; the ones who are disliking her and the ones who stand up for her. These groups are based on opinions, political views and different generations which are also seen among the meme creators and what type of memes they made. Those who are disliking Thunberg, do it for different main reasons, such as age, origin of family and political beliefs.    Memes also matter in this study because of its format in picture and text, which give consumers an idea of the meme creator and its beliefs. Results also show that the behaviour of memes reflect society on different levels, political beliefs as an primary example. / Skriven av: Raffael Antonio Titel: Politiken är ett skämt – en kvalitativ intervjustudie om mediekonsumenters syn på politiska memes och Greta Thunberg   Syftet med denna studie är att titta närmare på mediekonsumenterna och deras syn på politiska memes och hur andra konsumenter och producenter på sociala medier producerar Greta Thunberg som en politisk figur med hjälp av memes.   Analysen har gjorts genom kvalitativa semistrukturerade intervjuer med människor som vanliga sociala mediekonsumenter. Detta gjordes av en intervjuguide med semistrukturerade frågor om politiska memes, politik på sociala medier och hur Greta Thunberg produceras av memeskapare enligt konsumenterna.   Resultaten har visat att det finns två grupper när det gäller Greta Thunberg om sociala media; de som ogillar henne och de som står upp för henne. Dessa grupper är baserade om åsikter, politiska åsikter och olika generationer som också ses bland memen skapare och vilken typ av memes de gjorde. De som ogillar Thunberg, gör det för olika huvudskäl, till exempel ålder, familjens ursprung och politiska övertygelser.   Memes spelar också roll i denna studie på grund av dess format i bild och text, som ger konsumenterna en idé om meme-skaparen och dess övertygelser. Resultaten visar också att mönstren som visas i memes, återspeglar samhället på olika nivåer, politiska övertygelser som ett primärt exempel.