This thesis provides an analysis of youth television, digital content and Channel 4-as-public service broadcaster and has three primary aims. Firstly, the thesis aims to provide a series of "forgotten histories", offering a corrective to pre-existing narratives surrounding Channel 4, extensively utilising untapped resources (the Channel 4 Press Packs), along with a collection of digital archive materials. This is done in order to re-evaluate the broadcaster's purpose, strategies and programming at a vital moment in its history, using these neglected moments to interrogate Channel 4's current relationship with youth audiences and content. Secondly, the thesis aims to reframe Channel 4's history through the lens of its youth provision, as the targeting of this demographic was seen as the "least worst" way of balancing its role as public service publisher and commercial corporation. This choice is discussed regarding the long-term impact upon Channel 4's identity and strategy, whilst offering a nuanced conceptualisation of what constitutes “youth” and how Channel 4 addressed it. Lastly, I aim to introduce a series of original conceptual frameworks in order to illustrate Channel 4's longstanding lack of consistency in terms of commissioning, promotion and organisational strategy, culminating in the use of the term spray. Spray encapsulates both the post-broadcast fluidity within British broadcasting, as well as Channel 4's chaotic and transitory strategic choices as it grapples with its historical identity and purpose. This thesis highlights the contradictory nature of Channel 4, with its opposing remit obligations of public service innovation and commercial viability, with the disparity between its promotional rhetoric and the production reality being pronounced. Through discussion of critically ignored content and programming strands, “forgotten histories” are produced in order to understand contemporary broadcasting, whilst extrapolating its future direction. The thesis also articulates the uneven and variable impact of new media consumption practices, promotional strategies and technological innovation upon both Channel 4 and its current (and future) audiences through the deployment of original conceptual frameworks and extensive analysis of Channel 4's multiplatform/digital policy.

Virtual Environments have demonstrated effectiveness for social task training such as medical training (Anolli, Vescovo, Agliati, Mantovani, & Zurloni, 2006). These types of Virtual Environments have used emotional animated characters. Even though emotions have a strong influence on human-human interactions (Gratch, Mao, & Marsella, 2006), typical system evaluation does not assess whether human and animated emotional displays are perceived similarly by observers. Moreover, the Uncanny Valley, which is a drop in believability as characters become more realistic, threatens the assumption that emotions displayed by an animated character and a human would be interpreted similarly. Thus, it is not known how appropriate the perception to a realistic emotional animated character is. This issue is especially important for social task training which require animated characters to be perceived as social and emotional partners so that trainees would be confronted with situations comparable to real life ones. Using an approach similar to the one proposed by Nass & Moon (2000) in their work on the Media Equation, this thesis investigates how emotional body language displayed by animated characters is interpreted. A psychological experiment was conducted to investigate if emotional body language would be an appropriate way for animated characters to display emotion. This was done by comparing the interpretation of emotional body language displayed by animated characters with that by real actors. The results showed that animated body language can be accurately interpreted. However, the videos of the actor were found to be more emotional, more believable and more natural than the animated characters, whilst displaying the same emotional body language. Moreover, there was a significant difference in the number of correctly interpreted negative emotions displayed. Although, there was not a difference for positive emotions. This could be due to the physical appearance of the animated character or to the loss of micro-gestures inherent to Motion Capture technology. Thus, a second comparative study was conducted to investigate the potential causes for this drop in believability and recognition. It investigated the effect of changing the level of physical realism of the animation as well as deteriorating the quality of the emotional body language itself. Whilst no effect was found regarding the deterioration of the emotional body language, the results show that the videos of the Actor were found to be more emotional, more believable and more natural than the two animated characters. These findings have strong implications for the use of Virtual Environments for social task training.

Digital Preservation addresses a significant threat to our cultural and economic foundation: the loss of access to valuable and, sometimes, unique information that is captured in digital form through obsolescence, deterioration or loss of information of how to access the contents. Digital Preservation has been defined as “The series of managed activities necessary to ensure continued access to digital materials for as long as necessary” (Jones, Beagrie, 2001/2008). This thesis develops a conceptual model of the core concepts and constraints that appear in digital preservation - DePICT (Digital PreservatIon ConceptualisaTion). This includes a conceptual model of the digital preservation domain, a top-level vocabulary for the concepts in the model, an in-depth analysis of the role of digital object properties, characteristics, and the constraints that guide digital preservation processes, and of how properties, characteristics and constraints affect the interaction of digital preservation services. In addition, it presents a machine-interpretable XML representation of this conceptual model to support automated digital preservation tools. Previous preservation models have focused on preserving technical properties of digital files. Such an approach limits the choices of preservation actions and does not fully reflect preservation activities in practice. Organisations consider properties that go beyond technical aspects and that encompass a wide range of factors that influence and guide preservation processes, including organisational, legal, and financial ones. Consequently, it is necessary to be able to handle ‘digital’ objects in a very wide sense, including abstract objects, such as intellectual entities and collections, in addition to the files and sets of files that create renditions of logical objects that are normally considered. In addition, we find that not only the digital objects' properties, but also the properties of the environments in which they exist, guide digital preservation processes. Furthermore, organisations use risk-based analysis for their preservation strategies, policies and preservation planning. They combine information about risks with an understanding of actions that are expected to mitigate the risks. Risk and action specifications can be dependent on properties of the actions, as well as on properties of objects or environments which form the input and output of those actions. The model presented here supports this view explicitly. It links risks with the actions that mitigate them and expresses them in stakeholder specific constraints. Risk, actions and constraints are top-level entities in this model. In addition, digital objects and environments are top-level entities on an equal level. Models that do not have this property limit the choice of preservation actions to ones that transform a file in order to mitigate a risk. Establishing environments as top-level entities enables us to treat risks to objects, environments, or a combination of both. The DePICT model is the first conceptual model in the Digital Preservation domain that supports a comprehensive, whole life-cycle approach for dynamic, interacting preservation processes, rather than taking the customary and more limited view that is concerned with the management of digital objects once they are stored in a long-term repository.

The ever increasing volume and diversity of information objects, technological advances and rising user expectations is causing libraries to face challenges in adequately describing information objects so as to improve the findability and discoverability of these objects by potential end users. Taking these present metadata challenges into account, this thesis inductively explores and develops overarching concepts and principles that are pertinent within both current standards-based and emerging metadata approaches. Adopting a Constructivist Grounded Theory Method, this thesis conducted in-depth interviews with 57 purposefully selected participants, comprised of practising librarians, researchers, metadata consultants and library users. The interview data was analysed using three stages of iterative data analysis: open coding, focused coding and theoretical coding. The analysis resulted in the emergence of four Core Categories, namely, metadata Enriching, Linking, Openness and Filtering. Further integration of the Core Categories resulted in the emergence of a theory of digital library metadata; The Theory of Metadata Enriching and Filtering. The theory stipulates that metadata that has been enriched, by melding standards-based (a priori) and socially-constructed (post-hoc) metadata, cannot be optimally utilised unless the resulting metadata is contextually and semantically linked to both internal and external information sources. Moreover, in order to exploit the full benefits of such linking, metadata must be made openly accessible, where it can be shared, re-used, mixed and matched, thus reducing metadata duplication. Ultimately, metadata that has been enriched (by linking and being made openly accessible) should be filtered for each user, via a flexible, personalised, and re-configurable interface. The theory provides a holistic framework demonstrating the interdependence between expert curated and socially-constructed metadata, wherein the former helps to structure the latter, whilst the latter provides diversity to the former. This theory also suggests a conceptual shift from the current metadata principle of sufficiency and necessity, which has resulted in metadata simplicity, to the principle of metadata enriching where information objects are described using a multiplicity of users’ perspectives (interpretations). Central to this theory is the consideration of users as pro-active metadata creators rather than mere consumers, whilst librarians are creators of a priori metadata and experts at providing structure, granularity, and interoperability to post-hoc metadata. The theory elegantly delineates metadata functions into two: enriching (metadata content) and filtering (interface). By providing underlying principles, this theory should enable standards-agencies, librarians, and systems developers to better address the changing needs of users as well as to adapt themselves to recent technological advances.

<em>Small Tales</em> is a 2D video game with hand drawn and watercolor painted assets that incorporates a series of vignettes centered on the collection of artifacts. Growing up, I experimented with and  investigated a wide variety of media, such as Alice and GameMaker but ultimately decided to  sharpen my fine arts skills and incorporate them in to video game engines in this thesis. A variety  of point and click adventure games such as the <em>King's Quest</em> and <em>Monkey Island</em> series inspired  the development of this game due to their emphasis on narrative and player interaction. This thesis developed from a series of earlier projects that helped me settle on four  primary objectives: vignetted narratives, player choice and consequences, visual and text  components working harmoniously, and replayability via randomized generation. A Processing  sketch emphasized the need for strong visual assets in addition to text-based narrative; in  addition to replayability via randomized strings or text for a unique narrative every iteration.  Afterwards, a Twine game further encouraged visual assets working with text, but solidified a  foundation in player choice and consequences. Finally, my first experiment in Unity with the  Adventure Creator helped me establish a functional workflow to achieve my four goals.   <em>Small Tales</em> itself revolves around a series of vignettes connected by the world of the  player character. Players wander an unfamiliar neighborhood to find artifacts that at the end of  the game reveal tiny stories about other worlds. The game was received well by players during  my defense for its ethereal atmosphere and for creating an engaging story world. But a handful  of suggestions from these same players could push the game to be even better. <em>Small Tales</em> will be available online after these critiques are taken under consideration. / Master of Fine Arts

Analysing human creativity has always been a difficult undertaking. The reason for this is the vagueness of the term creativity itself. Philosophers and Researchers have tried to unveil the secrets behind creativity since centuries. Besides some principles e.g. defined by Finke, Ward, and Smith, there is no holistic understanding about term creativity and there will always be discussions between researchers of different disciplines about how creativity is achieved. Current approaches try to understand creativity through studying the creative artifact or the creative human himself. These approaches have not lead to any promising results. Instead of focussing on creativity itself, it is more promising to look at the creative process of creators. Through this, it is possible to analyse what happened during the creation of an artefact. The aim of the analysis is the identification of certain behaviours within the creative process, which lead to very creative results or in opposite hinder creativity. The gained knowledge is used for the creation of patterns, describing this specific behaviour. The analysis of the creative process is not only interesting for artists, but also for engineers, researchers, students and many others. Important target groups for this approach are schools and universities. Being able to early recognise problems in the learning curve of a student will enable a directed support, in order to improve the student's performance. Until now, the main problem for analysing the creative process of a creator is the lack of information on how an artefact was created. Most creators tend not to make many notes during their creative phase, even if there are famous exemptions like Beethoven who left behind a huge amount of notices and marked changes in his work. Hence, the challenge is the development of a powerful framework, which can cope effectively with the recording and presentation of this creative process, in order to enable detailed analyses. Modern computer technology fosters the recording of the creative process of a person. Much of today's creative work is achieved with computers and powerful software applications. Computer networks and the internet enable new ways of collaboration. The creation of a flexible, collaborative tool-set is the ideal approach for the mapping and analysis of the creative process. A novel approach, based on these ideas, was developed by the members of the Creative Technologies Research Programme at the Software Technology Research Laboratory (STRL). The central aim of the approach is the mapping of the human creativity with so-called creativity maps. A creativity map is basically transition system, which allows to store and represent the creative process as well as to hold each version of the artefact. The developed De Montfort Creativity Assistant (DMCA), is a collaborative, web-enabled state-of-the-art software framework, realising the theoretical concepts. This thesis represents a substantial contribution to the research project. The focus of the presented work lies on the analysis and the support of the creative process. Several novel techniques for the analysis of massive data sets have been developed. The presented techniques enable a domain-independent analysis and support of the creative process. This is huge improvement over previous concepts, which are highly specialised and focus on the creative artefact itself. The presented approach required the development of several novel techniques. The major contributions of the presented research are: - Behavioural Patterns Enable the description of constructs inside the creativity map. These constructs represent the creative behaviour of the creator. - Techniques for a Computer-supported Information Extraction A pattern description language enables the computer-supported information extraction from creativity maps. - Knowledge Repository Knowledge, gained through the analysis processes, is stored centrally and shared with other creators in order to stimulate further growing of knowledge. - Concepts for the Analysis and Support of the Creative Process Novel concepts allow the structured analysis and support of the creative process, regardless of the creator's domain. All developed techniques have been implemented in several tools, which aim to enrich the DMCA with the ability of a computer-supported analysis and support of the creative process.

This MFA thesis uses the medium of computer language to explore the chaos underlying Bipolar I Disorder, an enigmatic and disruptive illness. Using creative coding to generate a series of abstract systems representing human traits, I explore the common truth that pervades the seemingly randomness of mental illness: we all break the same. / Master of Fine Arts

The process of decomposition can be used as a method for disrupting the knowing subject, thus creating space for the awareness of unnoticed ideologies and beliefs. The body of work presented in this thesis intends to point towards, symbolically represent, and alchemically initiate a process of dissolution. It arises from an intention to negotiate psychospiritual suffering, by transmuting impulses of self destruction and violence into ceremonial and ritual processes. This work incorporates various methods into its scope, including video, performance, sculpture, painting, and gardening. / Master of Fine Arts / The process of decomposition can be used as a method for disrupting the knowing subject, thus creating space for the awareness of unnoticed ideologies and beliefs. The body of work presented in this thesis intends to point towards, symbolically represent, and alchemically initiate a process of dissolution. It arises from an intention to negotiate psychospiritual suffering, by transmuting impulses of self destruction and violence into ceremonial and ritual processes. This work incorporates various methods into its scope, including video, performance, sculpture, painting, and gardening.

Wearable technologies are creating new ways for people to discover and record personal data. While these devices are raising awareness about biometric information, there is a larger quantified self movement encompassing any type of personal data collected by any means and recorded and shared in a variety of ways. Participants in this movement are experimenting with new ways to view and interact with their generated digital information. On a societal level, as we collect more data (personal or otherwise) we are questioning who should have access to different types of data and how collected data should be used. Visual Imprints documents an exploration into how location data is collected, visualized, and understood by people with varying degrees of data literacy. Through the design and development of the Android application Data Atlas, this exploration utilizes aspects of information architecture to illustrate how we as a society might come to better understand what technologies and applications record personal data and how collected information can be seen and used. The exploration also illustrates how creative technologists can contribute to societal questions on data literacy and user privacy as well as create work as a part of the quantified self movement. / Master of Fine Arts

Parking continually becomes an issue in the modern society. Not only appears in the large cities like New York or Chicago, on-campus parking also a big problem annoys students in lots of universities. With of smartphone development, many mobile applications are designed for solving the parking issues. This final thesis study is a concept multiplatform mobile application called 'ParkinVT', which designs for improved parking in Virginia Tech. This study covers all standard procedures of application design. First, the study of 'ParkinVT' started with the research of the background, equipment, and current parking regulations of Virginia Tech. Second, reviews of two existing parking mobile applications were carried out. Third, based on the materials and knowledge collected in the previous two steps, a working flow chart and wireframe of the UI of 'ParkinVT' were designed. Then, for ensuring the function settings of 'ParkinVT', a usability testing was conducted with the paper-based wireframe work. Three usability test processes in this study were entrance survey, usability testing with video recordings, and evaluation through exit survey. After the usability testing and analysis were finished, the design of 'ParkinVT' reached its final design step, which included logo design, graphic design, and UI design. In terms of the limitations of this study, future directions were also considered at the end of the design of 'ParkinVT'. / Master of Fine Arts