<p>Purpose: The objective of this study is to illustrate how participants in leaderless based projects communicate with each other. Several studies have focused on technology-supported projects, such as open source projects, with an established project manager and goal. There is a lack, to the best of our knowledge, in studies that deal with the communication pattern in a leaderless computer supported collaborative project.</p><p>Method: We have chosen to use a quantitative method where we systematically group several messages according to their content. This method was used in a similar study to illustrate the communication between participants involved in an open source project. We have taken the same Kripendorff based method and adapted it to our study by adding more descriptive variables.</p><p>Theoretical perspectives: Manuel Castell discusses the aspects of a new communication power that is rooted in the individual as part of a larger creative audience. The collaborative works we have studies are prime examples of how the creative audience works together and of mass self‐communication. In order to analyze the potential motivations behind the participant’s involvement in these collaborative works, we have adopted the ideas of Preece and Shneidermans frame theory. They have identified 4 major roles in most onlinebased co‐operations and refer to them as reader, contributor, collaborator and leader.</p><p>Result: Our results show that the communication in computer supported collaborative works is characterized by positive and energetic communication. The participants are all involved by their own will; they contribute because they want to. We believe this to be the major factor influencing the flow and form of communication between the participants. The majority of posts are comments to other participants or contributing posts that add to the progression of the discourse. We also have reason to believe that the use of smileys and embedded pictures is related to the tools available to the participants; the quicker and easier it is to add a picture the more likely the participants will use these tools.</p>

Purpose: The objective of this study is to illustrate how participants in leaderless based projects communicate with each other. Several studies have focused on technology-supported projects, such as open source projects, with an established project manager and goal. There is a lack, to the best of our knowledge, in studies that deal with the communication pattern in a leaderless computer supported collaborative project. Method: We have chosen to use a quantitative method where we systematically group several messages according to their content. This method was used in a similar study to illustrate the communication between participants involved in an open source project. We have taken the same Kripendorff based method and adapted it to our study by adding more descriptive variables. Theoretical perspectives: Manuel Castell discusses the aspects of a new communication power that is rooted in the individual as part of a larger creative audience. The collaborative works we have studies are prime examples of how the creative audience works together and of mass self‐communication. In order to analyze the potential motivations behind the participant’s involvement in these collaborative works, we have adopted the ideas of Preece and Shneidermans frame theory. They have identified 4 major roles in most onlinebased co‐operations and refer to them as reader, contributor, collaborator and leader. Result: Our results show that the communication in computer supported collaborative works is characterized by positive and energetic communication. The participants are all involved by their own will; they contribute because they want to. We believe this to be the major factor influencing the flow and form of communication between the participants. The majority of posts are comments to other participants or contributing posts that add to the progression of the discourse. We also have reason to believe that the use of smileys and embedded pictures is related to the tools available to the participants; the quicker and easier it is to add a picture the more likely the participants will use these tools.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-08-18T13:38:39Z No. of bitstreams: 1 carolinagaviolisilva.pdf: 20781992 bytes, checksum: ed0b1def4566a06759104e0888ea0877 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-08-24T12:01:48Z (GMT) No. of bitstreams: 1 carolinagaviolisilva.pdf: 20781992 bytes, checksum: ed0b1def4566a06759104e0888ea0877 (MD5) / Made available in DSpace on 2017-08-24T12:01:48Z (GMT). No. of bitstreams: 1 carolinagaviolisilva.pdf: 20781992 bytes, checksum: ed0b1def4566a06759104e0888ea0877 (MD5) Previous issue date: 2017 / As fronteiras entre os produtos televisivos e seu público estão cada vez mais borradas graças às redes sociais e à facilidade de comunicação. O público não é só mais um número de audiência. Reality shows como o Big Brother Brasil têm se destacado pela adaptação de seus fãs ao modelo multiplataforma e pela fluidez de gênero, proporcionando um agenciamento mais efetivo. A pesquisa busca compreender como as interações dos fãs do Big Brother Brasil 16 no Twitter se dão e influenciam o andamento e o resultado final do reality. A hipótese é a de que esse processo ocorre através do próprio formato do programa e das características da cultura participativa adquiridas pelos fãs. Os dados discutidos são fruto de mineração de dados ‘através das plataformas Opsocial e TweetReach nos 12 paredões da edição 2016 do BBB. Além disso, observamos durante este período a movimentação dos fandoms mais influentes e participativos em termos de engajamento. Com isso, foi possível perceber um padrão de ação desses fãs e como se dava o fluxo comunicacional entre o Twitter e o BBB16, e como a primeira tela (televisão), influenciava a outra, o Twitter. Foram obtidos 58 relatórios nos 12 paredões, além de screenshots em tempo real de tweets ao longo do programa de eliminação, obtendo assim uma média de 20 screenshots por paredão. Após esta fase, os dados coletados foram agrupados a cada semana, comparando os resultados de cada plataforma e o resultado oficial da emissora. Assim, obtivemos um percentual de 88% de acertos, mostrando que, em 10 dos 12 paredões, os participantes mais comentados no Twitter foram os reais eliminados. Concluímos que, fatores como a multiplicidade de leituras diferenciadas propiciadas pelo formato do programa e que proporcionam um engajamento mais efetivo dos fãs, agem no modo como esses influenciam o andamento e resultado final do BBB16 através do Twitter. Além disso, as características da cultura participativa, também dos próprios fãs e das audiências criativas também participam deste fluxo comunicacional. / The limits between television products and their audience are increasingly blurred thanks to social networks and the ease of communication. The viewers are not just another audience number. Reality shows like Big Brother Brazil have stood out by adapting their fans to the multiplatform model and thanks to the fluidity of gender, providing a more effective agencying. The research seeks to understand how the interactions of Big Brother Brazil 16 fans on Twitter happens and influence the progress and the final result of the reality show. The data discussed are the result of mining through the Opsocial and TweetReach platforms in the 12 elimination nights of the 2016 edition of the BBB. In addition, we observed during this period the movement of the most influential and participatory fandoms in terms of engagement. This way, it was possible to perceive a pattern of action of these fans and how the communication flow between Twitter and the BBB16 happened, and how one screen (television) influenced the other, the Twitter. 58 reports on the 12 elimination nights were obtained, plus screenshots in real time of tweets throughout the elimination program, obtaining an average of 20 screenshots per break. After this phase, the data collected were grouped each week, comparing the results of each platform and the official result of the television station. Thus, we obtained a percentage of 88% of hits, showing that in 10 of the 12 elimination nights or in Brazilian Portuguese "paredões”, the participants most commented on Twitter were the eliminated ones. We conclude that factors such as the multiplicity of differentiated readings provided by the format of the program and which provide a more effective engagement of the fans, act in the way the fans influence the progress and final result of the BBB16 through Twitter. In addition, the characteristics of the participatory culture and also the fans themselves and the elements of creative audiences also participate in this communication flow.