Ce travail s’intéresse à la mission culturelle de France Télévisions à partir de la problématique suivante : La culture à la télévision de service public a-t-elle une qualité particulière ? Si oui, quels en sont les principes régulateurs et comment se manifeste sa cohérence ? À partir d’une définition restrictive de la notion de culture qui inclut à la fois les grandes disciplines artistiques et les productions des industries culturelles, le lecteur suit un parcours chronologique à travers trois mouvements : une analyse de rapports institutionnels publiés entre 1993 et 2008 ; une étude de figures d’artistes tels que visibles dans trois émissions de plateau (On n’est pas couché, Ce soir (ou jamais !) et Des mots de minuit) entre 2010 et 2011 ; des formes numériques d’écriture et de diffusion de la culture expérimentées entre 2011 et 2017. Nous appuyant sur une histoire de la télévision publique, nous nous inscrivons principalement dans une perspective sémiologique. Toutefois, nous empruntons quelques outils à l’analyse de discours, à l’approche par les modèles socio-économiques des industries culturelles, et proposons une conduite d’entretien graphique. L’hétérogénéité des objets concrets et des méthodologies que nous mobilisons nous conduisent à conclure que la culture de la télévision de service public se nourrit à la fois d’une conception majoritairement institutionnellement consacrée, d’une attention portée aux productions des industries culturelles et aux « médiacultures » et tend à s’élargir davantage au travers d’expériences numériques. C’est d’une conjugaison de cet ensemble d’éléments sur un mode propre que procède la culture de la télévision de service public.Descripteurs : télévision publique ; France Télévisions ; culture et arts ; industries culturelles ; rapport institutionnel ; programmes télévisuels ; nouvelles écritures audiovisuelles ; geste graphique / The dissertation focuses on the France Télévisions’s cultural agenda and addresses the following question : Is there a form of culture specific to public service broadcasting ? If there is, how is it regulated and how does its coherence appear? We tackle the issue using a restricted definition of the notion of culture that includes both the great artistic disciplines and the productions of cultural industries. A chronological analysis follows three movements that place the reader/audience in various political and media territories: an inquiry into the institutional reports published between 1993 and 2007; figures and portraits of artists in three lateevening TV shows (On n’est pas couché, Ce soir (ou jamais!), and Des mots de minuit) broadcast between 2010 and 2011; and digital writings/narratives of culture between 2011 and 2017. Based on a history of public television, our perspective is mainly semiological. However, our study is inscribed in a project that includes several methodological tools while also using discourse analysis and a socioeconomic approach of the cultural industry. Finally, we have carried out graphic interviews. The heterogeneous nature of the artefacts and methods we summon lead us to conclude that public television culture is conveyed thanks to an understanding of culture close to the "established culture", the productions of cultural industries and "mediacultures", although it tends to expand in relation to digital experiences. Lastly, the combination of a number of factors produces a synoptic vision of the different conceptions of public television culture. Keywords : Public television ; France Télévisions ; culture and arts ; cultural industry products ; institutional reports ; talk-shows ; new audio-visual writing ; graphic gesture.

Orientador: Suzy Maria Lagazzi / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-20T05:11:48Z (GMT). No. of bitstreams: 1 MartinsdeSouza_LuizCarlos_D.pdf: 3983729 bytes, checksum: 646abf82afc9908b41ae8e482668e965 (MD5) Previous issue date: 2012 / Resumo: Prezado viajante, Este bilhete lhe dá direito a uma viagem pela estrada metodológica da Análise de Discurso Materialista para que você contemple o filme em DVD ?Central do Brasil?, de Walter Salles Jr. Você passará por três estações a partir da ausência do pai como principal metáfora articuladora dos trilhos narrativos, para que você veja o entrecruzamento entre dois caminhos: o discurso religioso e o discurso psicanalítico, na estruturação do funcionamento da falta metaforizada nessa ausência, movimentando o político no social. Inicialmente você verá os mapas da viagem, circunscritos na perspectiva materialista de Análise de Discurso: a apresentação do corpus, e a indicação dos principais conceitos nele operacionalizados. Em seguida a viagem se dará em três ?estações? através do batimento sinuoso entre descrição e interpretação: na primeira estação se dá a descrição da estrutura organizacional da superfície linguageira em suas condições de produção e circulação, e a formulação narrativa da falta, lhe direcionando para o deslocamento desta em objetos discursivos. Na estação seguinte você se deterá na observação dessa falta nos dois significantes representados como sujeitos: Dora e Josué. Vendo isso, você estará apto para a próxima estação: a inscrição da falta em metáforas e metonímias discursivas: nas imagens de Santa Maria e de Jesus Cristo, em relação a Dora e a Josué, no pai e nas cartas, e noutros objetos cênicos, como um pião e um lenço, objetos discursivos visibilizados nos planos como unidades de significação pela fragmentação da montagem do filme. Esperamos que você perceba que o Cristianismo intervém na superfície textual e discursiva, como também a Psicanálise, no tratamento dado às constelações familiares, à Metáfora Paterna, à lettre lacaniana (carta, letra, significante) e às projeções entre Dora e Josué. Não se assuste: há um embate do sujeito com o Real, em derivas e deslocamentos em torno de posições de sujeito. Entenda conosco quais processos discursivos estão em jogo nessa viagem, tomando a falta como um gesto estruturante do político nas relações sociais. Na chegada possível, você verá que os sentidos são possíveis pela relação e determinação entre o Real da história, o Real da linguagem e o Real do inconsciente, de forma que as condições sócio-históricas são constitutivas das significações do texto. Agradecemos sua preferência. Boa viagem / Abstract: This work assumes the Materialist Discourse Analysis methodology to analyze the DVD movie "Central Station", by Walter Salles Jr. Taking into consideration that the father's absence is the main metaphor that articulates the narrative surface, the intention was to understand this absence in the intersection between religious discourse and psychoanalytic discourse, asking about the politics in social relations. The introduction circumscribes the materialist perspective of Discourse Analysis, and presents the corpus, and the main concepts employed into it. The following chapters are formulated as "stations" around the stages of analysis: on the first step the language's organizational structure surface is described under certain conditions of production and circulation, the narrative design of the ?lack? and its displacement as discoursive objects. Observing the treatments in the screenplay, it was noticed the inscription of the sense effects on the names of biblical characters (Joshua, Jesus, Moses, Isaiah, Hannah, Pedrão - Big Peter), references to images of St. Mary and Jesus Christ - stage props noticed as units of meaning in the fragmentation of the shots of film edition. Psychoanalysis derives from the treatment given to family constellations, to the Paternal Metaphor, to the lacanian letter and to the projections between Dora and Joshua. From the crossing between description and interpretation, it was intended to give evidence to the clash between the subject and the Real, drifts and shifts in the subject positions. The last step of the analysis examines the discursive processes, which make the ?lack? a structuring gesture of the politics in social relations. The audiovisual, object of aesthetic completion and an important commodity in the contemporary world, acts as a massive investment in the subject, determining, renewing and contradicting the circulation of capital, and the effects of the spectacle's ideology, imposed by the logic of the market. The [meanings] senses are possible through the relation and the determination between the Real from the History, the Real from the language and the Real from the unconscious, so that the socio-historical conditions constitutes the meanings of the text / Doutorado / Linguistica / Doutor em Linguística

The purpose of this study is to explore and analyse if films, as well as being a possible tool to develop linguistic skills of the students of the upper secondary school, can be the basis to introduce and develop cultural elements and aspects related to the students’ values. A survey was responded by 36 teachers of the Swedish upper secondary school in order to study how film in general, and Pedro Almodóvar’s in particular, is used in the teaching of ELE in order to treat basic values and cultural content. The results show that teachers use film to talk about culture and some basic values, but in general the films are not used in Spanish classes very often. / El objetivo de este trabajo es investigar si el cine además de ser una posible herramienta para desarrollar los contenidos lingüísticos de los alumnos del nivel de bachillerato puede ser la base para introducir y desarrollar los elementos culturales y aspectos relacionados con los principios básicos de los alumnos. A través de la entrevista realizada a los profesores de español de los institutos suecos hemos estudiado si el cine en general y las películas de Pedro Almodóvar en particular es usado en la enseñanza de ELE con el propósito de tratar los valores básicos y los contenidos culturales. Los resultados demuestran que se trabaja con el cine para hablar sobre la cultura y algunos valores básicos, pero en general no se usa las películas en las clases de español con mucha frecuencia.

Abstract Audio-oral speech and visuo-manual sign language as used by the Deaf community are two very different realizations of the human linguistic communication system. Sign language is not only used by the hearing impaired but also by different groups of hearing individuals. To date, there is a great discrepancy in scientific knowledge about signed and spoken languages. Particularly little is known about the integration of the two systems, even though the vast majority of deaf and hearing signers also have a command of some form of speech. This neurolinguistic study aimed to achieve basic knowledge about semantic integration mechanisms across speech and sign language in hearing native and non-native signers. Basic principles of sign processing as reflected in electrocortical brain activation and behavioral decisions were examined in three groups of study participants: Hearing native signers (children of deaf adults, CODAs), hearing late learned signers (professional sign language interpreters), and hearing non-signing controls. Event-related brain potentials (ERPs) and behavioral response frequencies were recorded while the participants performed a semantic decision task for priming lexeme pairs. The lexeme pairs were presented either within speech (spoken prime-spoken target) or across speech and sign language (spoken prime-signed target). Target-related ERP responses were subjected to temporal principal component analyses (tPCA). The neurocognitive basis of semantic integration processes were assessed by analyzing different ERP components (N170, N400, late positive complex) in response to the antonymic and unrelated targets. Behavioral decision sensitivity to the target lexemes is discussed in relation to the measured brain activity. Behaviorally, all three groups of study participants performed above chance level when making semantic decisions about the primed targets. Different result patterns, however, hinted at three different processing strategies. As the target-locked electrophysiological data was analyzed by PCA, for the first time in the context of sign language processing, objectively allocated ERP components of interest could be explored. A little surprisingly, the overall study results from the sign-naïve control group showed that they performed in a more content-guided way than expected. This suggested that even non-experts in the field of sign language were equipped with basic skills to process the cross-linguistically primed signs. Behavioral and electrophysiological study results together further brought up qualitative differences in processing between the native and late learned signers, which raised the question: can a unitary model of sign processing do justice to different groups of sign language users? / Tiivistelmä Kuuloaistiin ja ääntöelimistön motoriikkaan perustuva puhe ja kuurojen yhteisön käyttämä, näköaistiin ja käsien liikkeisiin perustuva viittomakieli ovat kaksi varsin erilaista ihmisen kielellisen viestintäjärjestelmän toteutumismuotoa. Viittomakieltä käyttävät kuulovammaisten ohella myös monet kuulevat ihmisryhmät. Tähänastinen tutkimustiedon määrä viittomakielistä ja puhutuista kielistä eroaa huomattavasti. Erityisen vähän on tiedetty näiden kahden järjestelmän yhdistämisestä, vaikka valtaosa kuuroista ja kuulevista viittomakielen käyttäjistä hallitsee myös puheen jossain muodossa. Tämän neurolingvistisen tutkimuksen tarkoituksena oli hankkia perustietoja puheen ja viittomakielen välisistä semanttisista yhdistämismekanismeista kuulevilla, viittomakieltä äidinkielenään tai muuna kielenä käyttävillä henkilöillä. Viittomien prosessoinnin perusperiaatteita, jotka ilmenevät aivojen sähköisen toiminnan muutoksina ja valintapäätöksinä, tutkittiin kolmessa koehenkilöryhmässä: kuulevilla viittomakieltä äidinkielenään käyttävillä henkilöillä (kuurojen aikuisten kuulevilla ns. CODA-lapsilla, engl. children of deaf adults), kuulevilla viittomakielen myöhemmin oppineilla henkilöillä (viittomakielen ammattitulkeilla) sekä kuulevilla viittomakieltä osaamattomilla verrokkihenkilöillä. Tapahtumasidonnaiset herätepotentiaalit (ERP:t) ja käyttäytymisvasteen frekvenssit rekisteröitiin koehenkilöiden tehdessä semanttisia valintoja viritetyistä (engl. primed) lekseemipareista. Lekseemiparit esitettiin joko puheena (puhuttu viritesana – puhuttu kohdesana) tai puheen ja viittomakielen välillä (puhuttu viritesana – viitottu kohdesana). Kohdesidonnaisille ERP-vasteille tehtiin temporaaliset pääkomponenttianalyysit (tPCA). Semanttisten yhdistämisprosessien neurokognitiivista perustaa arvioitiin analysoimalla erilaisia ERP-komponentteja (N170, N400, myöhäinen positiivinen kompleksi) vastineina antonyymisiin ja toisiinsa liittymättömiin kohteisiin. Käyttäytymispäätöksen herkkyyttä kohdelekseemeille tarkastellaan suhteessa mitattuun aivojen aktiviteettiin. Käyttäytymisen osalta kaikki kolme koehenkilöryhmää suoriutuivat satunnaistasoa paremmin tehdessään semanttisia valintoja viritetyistä kohdelekseemeistä. Erilaiset tulosmallit viittaavat kuitenkin kolmeen erilaiseen prosessointistrategiaan. Kun kohdelukittua elektrofysiologista dataa analysoitiin pääkomponenttianalyysin avulla ensimmäistä kertaa viittomakielen prosessoinnin yhteydessä, voitiin tutkia tarkkaavaisuuden objektiivisesti allokoituja ERP-komponentteja. Oli jossain määrin yllättävää, että viittomakielellisesti natiivin verrokkiryhmän tulokset osoittivat sen jäsenten toimivan odotettua sisältölähtöisemmin. Tämä viittaa siihen, että viittomakieleen perehtymättömilläkin henkilöillä on perustaidot lingvistisesti ristiin viritettyjen viittomien prosessointiin. Yhdessä käyttäytymisperäiset ja elektrofysiologiset tutkimustulokset toivat esiin laadullisia eroja prosessoinnissa viittomakieltä äidinkielenään puhuvien henkilöiden ja kielen myöhemmin oppineiden henkilöiden välillä. Tämä puolestaan johtaa kysymykseen, voiko yksi viittomien prosessointimalli soveltua erilaisille viittomakielen käyttäjäryhmille?

This thesis will concentrate on previous and current learning methods of French as a foreign language. This understanding will help to plot the rapidness of evolution within foreign-language teaching. In conjunction with this evolution the thesis will also give a brief overview of the exponential development of technology. It will focus specifically on how technology created a new way of learning. The aim of this thesis is to depict whether there is a need to adapt the French language classroom with the current learning technologies in use. The thesis will also show that since people are different and since each generation differs in its learning preference, that technology can help to bridge the ever-growing gap between the learner and the learning material since people learn work on different ways. According to the proof that generations differ from each other and that the current young generation is referred to as the Net-generation, it will be clearly shown that this generation prefers to learn with technology. The correct mix of learning methods, learning technologies and different learning styles is one that is humanly impossible to achieve in a conventional way. It is on this basis then that the thesis will show that the correct e-learning technology should form an integral part of the new language classroom as it is the only solution to ensure that learning stays current and adaptive, and that it keeps on playing an important part in the evolution of mankind. Furthermore, a brief study will be conducted on the current and prospective use of e-learning technologies in the French language classroom of South Africa. / Thesis (MA (French))--University of Pretoria, 2004. / Modern European Languages / unrestricted

Le monde du divertissement numérique connaît depuis plusieurs années une évolution majeure avec la démocratisation des technologies vidéo 3D. Il est désormais commun de visualiser des vidéos stéréoscopiques sur différents supports : au cinéma, à la télévision, dans les jeux vidéos, etc. L'image 3D a considérablement évolué mais qu'en est-il des technologies de restitution sonore associées ? La plupart du temps, le son qui accompagne la vidéo 3D est basé sur des effets de latéralisation, plus au moins étendus (stéréophonie, systèmes 5.1). Il est pourtant naturel de s'interroger sur le besoin d'introduire des événements sonores en lien avec l'ajout de cette nouvelle dimension visuelle : la profondeur. Plusieurs technologies semblent pouvoir offrir une description sonore 3D de l'espace (technologies binaurales, Ambisonics, Wave Field Synthesis). Le recours à ces technologies pourrait potentiellement améliorer la qualité d'expérience de l'utilisateur, en termes de réalisme tout d'abord grâce à l'amélioration de la cohérence spatiale audio-visuelle, mais aussi en termes de sensation d'immersion. Afin de vérifier cette hypothèse, nous avons mis en place un système de restitution audio-visuelle 3D proposant une présentation visuelle stéréoscopique associée à un rendu sonore spatialisé par Wave Field Synthesis. Trois axes de recherche ont alors été étudiés : 1 / Perception de la distance en présentation unimodale ou bimodale. Dans quelle mesure le système audio-visuel est-il capable de restituer des informations spatiales relatives à la distance, dans le cas d'objets sonores, visuels, ou audio-visuels ? Les expériences menées montrent que la Wave Field Synthesis permet de restituer la distance de sources sonores virtuelles. D'autre part, les objets visuels et audio-visuels sont localisés avec plus de précisions que les objets uniquement sonores. 2 / Intégration multimodale suivant la distance. Comment garantir une perception spatiale audio-visuelle cohérente de stimuli simples ? Nous avons mesuré l'évolution de la fenêtre d'intégration spatiale audio-visuelle suivant la distance, c'est-à-dire les positions des stimuli audio et visuels pour lesquelles la fusion des percepts a lieu. 3 / Qualité d'expérience audio-visuelle 3D. Quel est l'apport du rendu de la profondeur sonore sur la qualité d'expérience audio-visuelle 3D ? Nous avons tout d'abord évalué la qualité d'expérience actuelle, lorsque la présentation de contenus vidéo 3D est associée à une bande son 5.1, diffusée par des systèmes grand public (système 5.1, casque, et barre de son). Nous avons ensuite étudié l'apport du rendu de la profondeur sonore grâce au système audio-visuel proposé (vidéo 3D associée à la Wave Field Synthesis). / The digital entertainment industry is undergoing a major evolution due to the recent spread of stereoscopic-3D videos. It is now possible to experience 3D by watching movies, playing video games, and so on. In this context, video catches most of the attention but what about the accompanying audio rendering? Today, the most often used sound reproduction technologies are based on lateralization effects (stereophony, 5.1 surround systems). Nevertheless, it is quite natural to wonder about the need of introducing a new audio technology adapted to this new visual dimension: the depth. Many alternative technologies seem to be able to render 3D sound environments (binaural technologies, ambisonics, Wave Field Synthesis). Using these technologies could potentially improve users' quality of experience. It could impact the feeling of realism by adding audio-visual spatial congruence, but also the immersion sensation. In order to validate this hypothesis, a 3D audio-visual rendering system is set-up. The visual rendering provides stereoscopic-3D images and is coupled with a Wave Field Synthesis sound rendering. Three research axes are then studied: 1/ Depth perception using unimodal or bimodal presentations. How the audio-visual system is able to render the depth of visual, sound, and audio-visual objects? The conducted experiments show that Wave Field Synthesis can render virtual sound sources perceived at different distances. Moreover, visual and audio-visual objects can be localized with a higher accuracy in comparison to sound objects. 2/ Crossmodal integration in the depth dimension. How to guarantee the perception of congruence when audio-visual stimuli are spatially misaligned? The extent of the integration window was studied at different visual object distances. In other words, according to the visual stimulus position, we studied where sound objects should be placed to provide the perception of a single unified audio-visual stimulus. 3/ 3D audio-visual quality of experience. What is the contribution of sound depth rendering on the 3D audio-visual quality of experience? We first assessed today's quality of experience using sound systems dedicated to the playback of 5.1 soundtracks (5.1 surround system, headphones, soundbar) in combination with 3D videos. Then, we studied the impact of sound depth rendering using the set-up audio-visual system (3D videos and Wave Field Synthesis).

Made available in DSpace on 2017-06-01T18:24:21Z (GMT). No. of bitstreams: 1 Annie Lezan.pdf: 1231230 bytes, checksum: 41540a56b2e2a32535a4b3f494891e11 (MD5) Previous issue date: 2007-05-25 / Interest in the use of technology in language classrooms has grown considerably. In the field of language education, in particular, several studies on the use of technological tools to enhance foreign language learning have already been conducted. The main objective of this research is to analyze whether technology can bring better learning results when it is used to help adult pupils over forty years of age learn a new language. The main research question asked in this study is: what effect does the use of internet technologies have on the learning process of a foreign language for students who are over forty? The central hypothesis of this study reflects the main curiosity of the researcher in analyzing comparatively the performance of two groups of adult students that studied English with the same teacher, used the same books, and experienced same content: Group 1, who was exposed to internet technology in language learning, and Group 2, who used readers (story books) for the same goal. For this purpose, this work is theoretically based on: (1) studies of E-learning (EAD), (2)socio-constructivist activities, which are supported by Vygotsky s learning and development theories, especially as regards the learning process and the pupil s and teacher s role on the net, and (3) the concept of Communicative Approach in language learning. Five months of classroom lessons were involved in this research, at a private English school in Recife. The participants included in this project were the researcher, the teacher and 20 students, divided into two groups. The analysis provided relevant information that will help the teacher s work with adult pupils learning a new language. The results of this research suggest a strong relationship between motivation and learning. They have also revealed that, despite the short period of exposure to the new language, the pupils have been able to benefit from the process of language learning with the aid of the Internet, especially their oral development. The results also suggest that the use of technological resources can offer several benefits to adult students throughout the process of learning a foreign language. By using such tools as: educational chats, educational e-mails, learning tasks on language education websites, and virtual interviews with guests through the Skype, this study brings authenticity to the classroom, more extensive exposure to the language and increased motivation, in order to benefit the adult student in the pedagogical, technological, and psychological dimensions when acquiring and learning a new language / A utilização de tecnologias em sala de aula tem despertado, cada vez mais, o interesse de estudiosos no desenvolvimento de ferramentas que auxiliem no ensino aprendizagem, particularmente naquele de língua estrangeira. Este trabalho teve como objetivo principal analisar se a tecnologia, quando aliada às aulas presenciais, pode auxiliar alunos adultos, com mais de 40 anos, a obterem um melhor resultado na aprendizagem. Para isso, a questão central de pesquisa proposta foi descobrir que efeito o uso de ferramentas da internet tem na aprendizagem de uma língua estrangeira por um indivíduo adulto, maior de 40 anos. O estudo analisa, comparativamente, dois grupos de alunos adultos de língua inglesa, com um mesmo professor, os mesmos livros e conteúdos programáticos, sendo que um grupo usava recursos oferecidos pela tecnologia da internet para expandir sua prática na línguaalvo e o outro usava livros paradidáticos para este mesmo fim. O trabalho encontrou suporte teórico nos estudos de Educação à distância (EAD) e nas teorias de atividades sócio-construtivistas, que se fundamentam, principalmente, na teoria de desenvolvimento e aprendizagem de Vygotsky, particularmente no que tange ao aprendizado e aos papéis de professor e de aluno via rede, e no conceito de abordagem comunicativa no ensino de línguas estrangeiras. O trabalho foi realizado em cinco meses de aulas presenciais, em contexto de sala de aula, em curso livre particular de inglês, tendo como participantes, além da pesquisadora, um professor e 20 alunos, distribuídos em duas turmas. Os resultados obtidos confirmam a relevância da motivação para a aprendizagem e revelaram também que, apesar do curto tempo de exposição à metodologia utilizada, os alunos puderam beneficiar-se, principalmente em seu desenvolvimento oral na língua inglesa, do potencial oferecido pela internet para a prática autêntica de fala e escrita com indivíduos nativos no idioma alvo. O trabalho destaca, ainda, o uso de recursos tecnológicos que o computador pode oferecer no processo de aprendizagem de um novo idioma pelo adulto. A utilização de ferramentas como aulas chat (o chat educacional), emails educacionais (aulas virtuais por e-mails), exercícios em portais virtuais para o ensino de línguas na internet, entrevistas virtuais com convidado através do Skype, entre outros, proporciona ao aprendiz não só a oportunidade de maior exposição e motivação para as atividades didáticas, bem como autenticidade em sua prática discursiva. Por outro lado, pode, também, proporcionar novos recursos nas áreas pedagógica, tecnológica e psicológica, enriquecendo o processo de ensino aprendizagem de uma nova língua

In order to test the ability of the Internet to supplement classroom instruction, an instructor-authored WWW site crashwhite.com was developed for two Berkeley High courses: Advanced Placement (AP) physics, and college-prep physics class. The website was intended to supplement classroom instruction by making classroom materials available to students and parents outside the classroom, and to facilitate increased teacher-parent, teacher-student, and student-student communication.

Am 28. April 2009 überreichten Repräsentanten der deutschen Archive und Bibliotheken Bundespräsident Horst Köhler eine Denkschrift der Allianz Schriftliches Kulturgut erhalten. Barbara Schneider-Kempf (Staatsbibliothek zu Berlin), Thomas Bürger (Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden), Bernd Kappelhoff (Landesarchiv Hannover) und Michael Knoche (Herzogin Anna Amalia-Bibliothek Weimar) hatten im Jahr 2008 diese Denkschrift erarbeitet, die nun gedruckt vorliegt und im Schloss Bellevue vorgestellt wurde.

En kombination av ljud och bild, audiovisuell media, har under en längre tidsperiod varit ett sätt att skapa uppmärksamhet kring en artist. Den teknologiska utvecklingen har förbättrat de audiovisuella verktygen och gjort de mer tillgängliga. Dock har denna utveckling även skapat fler digitala kommunikationskanaler och ett informationsbrus som kan vara svårt för en artist att nå igenom. Utifrån detta kan artister behöva nå sin publik på ett djupare plan, vilket eventuellt kan uppnås genom sinnesmarknadsföring. Denna uppsats har därför som syfte att undersöka hur och varför artister använder audiovisuell media i sin kommunikation via sociala medier samt vilken betydelse samspel mellan flera sinnen har för att förmedla artistens identitet. Undersökningen har tillämpat en kvalitativ forskningsstrategi med hermeneutik som kunskapsteoretisk utgångspunkt. Utifrån denna har studien antagit en abduktiv ansats. Datainsamling för studien utfördes genom semistrukturerade intervjuer, varav två genomfördes personligen, tre via telefon och två respondenter besvarade intervjufrågor via e-mail. Respondenter valdes genom ett målstyrt urval med kriterierna att respondenterna skulle inneha kunskap eller erfarenhet om ämnet genom sitt arbete och inkludera olika åldrar, könstillhörigheter och geografiska hemvister. Resultatet av denna undersökning är att artister kan använda audiovisuell media på ett mångfacetterat sätt som beror på artistens genre, sammanhang och målgrupp. Studien har identifierat tre typer av audiovisuell media: kortare videor, fullskaliga musikvideor samt livestreaming. Artister använder audiovisuell media utifrån olika syften som kan innefatta att kommunicera sin varumärkesidentitet, att addera till ett konstnärligt uttryck eller att etablera närmare relationer till sin målgrupp. Semantisk kongruens mellan flera sinnen är av betydelse för att förmedla en autentisk helhetsbild av artisten. I framtiden kan audiovisuell media få ökad betydelse genom en allt snabbare konsumtionskultur och mer tillgänglig teknik. Denna teknik kan även komma att möjliggöra inkludering av fler sinnen och därmed bidra till en starkare immersiv upplevelse för konsumenten. / A combination of sound and image, audio-visual media, has for a long time been a way to create attention around an artist. Technological developments have improved the audio-visual tools and made them more accessible. However, this development has also created more digital communication channels and an information noise that can be difficult for an artist to get through. Based on this, artists may need to reach their audience on a deeper level, which can possibly be achieved through sensory marketing. This study therefore aims to investigate how and why artists use audio-visual media in their communication via social media and the importance of interplay between several senses in conveying the artist's identity. The study has applied a qualitative research strategy with hermeneutics as the epistemic foundation. Based on this, the study has adopted an abductive approach. Data collection was performed through semi-structured interviews, of which two were conducted in person, three by telephone and two respondents answered interview questions via e-mail. Respondents were selected through a goal-directed selection with the criteria that the respondents would have knowledge or experience of the subject through their work and include different ages, genders and geographical residences. The result of this study is that artists may use audio-visual media in a multifaceted way that depends on the artist's genre, context and target group. The study has identified three types of audio-visual media: shorter videos, full-scale music videos and live streaming. Artists use audio-visual media for various purposes that may include communicating their brand identity, adding to an artistic expression or establishing closer relationships with their target audience. Semantic congruence between several senses is important for conveying an authentic holistic picture of the artist. In the future, audio-visual media may become more important through an ever-intensifying consumer culture and more accessible technology. This technology may also enable the inclusion of more senses and thus contribute to a stronger immersive experience for the consumer.