This dissertation poses that the digital transition is best understood as simultaneously a technological and cultural phenomena. As a physical change in the means of distribution, transmission, and reception of media content, the digital transition is an important factor in changing technological, aesthetic, and legal norms. As a cultural form, the digital is positioned as a moderator between continuity and discontinuity. Through a reading strategy inspired by Walter Benjamin this dissertation reads the physical and cultural implications of the digital transition in television in the United States through political categories. The chapters are case studies in the adoption of digital televisions for home use, digital television production technologies, digital transmission technologies, and digital distribution systems. Each case study examines the tenuous production of publics in the context of the dialectical pressures of the digital. By taking this approach I intend to contribute to the rhetorical dimension of television studies, the digital turn in rhetorical and public sphere studies, and the legal and aesthetic dimensions of production studies. The dialectical approach to the digital allows the study of television to theorize the trajectory of emerging media and the political implications of that movement.

Although COVID-19 has undoubtedly altered the lives of most human beings, one could argue that the education of children with special needs has been drastically affected. Measures taken by governments and consequences of the pandemic per se have changed the notion of traditional education shifting it to a virtual plane. A total of 6 articles extracted from different databases were included in this systematic review. The aim was to explore the literature on special education and the development of children with special educational needs in relation to the barriers and facilitators they have encountered in coping with the pandemic. Findings show a significant difference between the number of facilitators and barriers found. The high number of barriers in the environment, activities and participation and mental functions, gives an overview of the obstacles that children with special educational needs have faced during the pandemic. Most of the barriers encountered appeared to be interrelated and have reshaped the way education is understood. To address this problem and try to overcome the challenges they pose, efforts must be made at higher levels of society, such as policies, laws, or government support, to ensure the proper development of children.

Purpose: This master thesis aims to investigate the SMEs' perceptions about digitalization and sustainability of the firm and distinguish the factors that affect them. Furthermore, it illustrates how the SMEs’ digitalization process is linked to their sustainability.  Theoretical approach: This master thesis is based on the previous research and literature on SMEs’ digitalization and sustainability of the firm. Additionally, it proposed a conceptual model that links SMEs' digitalization process to their sustainability. Methodology: This research followed the qualitative method in which the data was obtained through semi-structured interviews with eight SMEs. These SMEs are located in Sweden, France, and Iran. However, the responses were analyzed based on the secondary analysis method. Findings: The study's findings demonstrate that digitalization affects an SME's sustainability through growth, competitiveness advantages, value creation, internal efficiency, and saving costs. Regardless of where SMEs are located, they mostly have the same perception of digitalization and insufficient knowledge about the firm's sustainability, and mainly the same factors affect their digitalization process and sustainability. Practical implications: The results of this study could provide a perspective on adopting the new technology by SMEs. It could inspire SMEs to increase their digitalization capability by adopting new technologies to ensure long-term sustainability in their organizations. It also sheds light on confusing the firm’s sustainability with SDGs, which SMEs must investigate. Originality/Value: This study adds to the digitalization and sustainability of the firm literature by investigating SMEs' perceptions about digitalization and firm’s sustainability, factors that influence the digitalization and sustainability process of the SMEs and examining how SMEs' digitalization processes are linked to their sustainability

Este estudo tem como propósito pesquisar como as produtoras de animação publicitária em São Paulo absorveram gradativamente a tecnologia digital a partir de meados dos anos 1980 até os anos 1990, observando seu funcionamento antes, durante e após a implementação mais efetiva dos novos recursos, identificando os fatos e dados que apontam para o impacto no processo criativo em todas as suas etapas. A partir de uma revisão bibliográfica, apresenta-se o modelo de produção analógico em animação, permitindo-se conjecturar a respeito do ambiente sócio-cultural que propiciou o surgimento dos estúdios de animação que imprimiram sua marca na história da publicidade brasileira. Dentro de uma perspectiva de pesquisa qualitativa fundamentada na história oral, procura-se, por meio de entrevistas com os produtores, compreender o trajeto da realização de um filme de animação, tanto da era analógica como da era digital. Buscou-se, com a coleta de depoimentos, criar evidências para a pesquisa, esperando contribuir assim para o resgate histórico de um momento muito fértil em nossa animação, e de um segmento audiovisual tradicionalmente pouco contemplado nas discussões acadêmicas. Como resultado, obteve-se uma reflexão sobre a evolução do processo criativo, que se mostrou dar-se não apenas em função da tecnologia, mas também em função de um conjunto de elementos sócio-econômico-culturais que influenciam na fruição através dos tempos e determinam diretrizes de produtividade para o audiovisual / This study aims to research how animation advertising companies have gradually absorbed digital technology in São Paulo from the mid-1980s until the 1990s. By observing their functioning before, during and after the effective implementation of new resources, and, by this investigative approach, the study identifies the facts and data which point toward the impact on the creative process at all its stages. In the review of literature, the analog production model of animation is presented, which allows for conjecturing as to what socialcultural environment has enabled the emergence of animation studios which have left their mark in the history of Brazilian advertising. From a qualitative research perspective grounded on Oral History, it used interviews with producers, to document and gain a clearer understanding of the making of an animation film, in both in the analog as well as in the digital era. By the collecting accounts, research evidence hopes to contribute to a historical review of a particularly fertile moment in the history of Brazilian animation. As well this study documents an audiovisual segment that traditionally is not addressed in academic discussions. As a result, a reflection of the development of the creative process was obtained, not only because of technology used but also by virtue of a set of social-economic-cultural elements which have influenced the fruition throughout times and determined productivity guidelines for the audiovisual.

Este estudo tem como propósito pesquisar como as produtoras de animação publicitária em São Paulo absorveram gradativamente a tecnologia digital a partir de meados dos anos 1980 até os anos 1990, observando seu funcionamento antes, durante e após a implementação mais efetiva dos novos recursos, identificando os fatos e dados que apontam para o impacto no processo criativo em todas as suas etapas. A partir de uma revisão bibliográfica, apresenta-se o modelo de produção analógico em animação, permitindo-se conjecturar a respeito do ambiente sócio-cultural que propiciou o surgimento dos estúdios de animação que imprimiram sua marca na história da publicidade brasileira. Dentro de uma perspectiva de pesquisa qualitativa fundamentada na história oral, procura-se, por meio de entrevistas com os produtores, compreender o trajeto da realização de um filme de animação, tanto da era analógica como da era digital. Buscou-se, com a coleta de depoimentos, criar evidências para a pesquisa, esperando contribuir assim para o resgate histórico de um momento muito fértil em nossa animação, e de um segmento audiovisual tradicionalmente pouco contemplado nas discussões acadêmicas. Como resultado, obteve-se uma reflexão sobre a evolução do processo criativo, que se mostrou dar-se não apenas em função da tecnologia, mas também em função de um conjunto de elementos sócio-econômico-culturais que influenciam na fruição através dos tempos e determinam diretrizes de produtividade para o audiovisual / This study aims to research how animation advertising companies have gradually absorbed digital technology in São Paulo from the mid-1980s until the 1990s. By observing their functioning before, during and after the effective implementation of new resources, and, by this investigative approach, the study identifies the facts and data which point toward the impact on the creative process at all its stages. In the review of literature, the analog production model of animation is presented, which allows for conjecturing as to what socialcultural environment has enabled the emergence of animation studios which have left their mark in the history of Brazilian advertising. From a qualitative research perspective grounded on Oral History, it used interviews with producers, to document and gain a clearer understanding of the making of an animation film, in both in the analog as well as in the digital era. By the collecting accounts, research evidence hopes to contribute to a historical review of a particularly fertile moment in the history of Brazilian animation. As well this study documents an audiovisual segment that traditionally is not addressed in academic discussions. As a result, a reflection of the development of the creative process was obtained, not only because of technology used but also by virtue of a set of social-economic-cultural elements which have influenced the fruition throughout times and determined productivity guidelines for the audiovisual.

Depuis une dizaine d’années, à la faveur des bouleversements accompagnant la transformation numérique, une nouvelle famille de phénomènes a fait son apparition dans le catalogue des préoccupations académiques légitimes. Citons pêle-mêle les makers, les hackers, les fablabs, hackerspaces et autres tiers-lieux. Un nombre croissant d’études leur est consacré, leur visibilité médiatique est incontournable et une partie des acteurs et structures de cet environnement est engagée dans un processus d’institutionnalisation. Plutôt que d’essayer de faire accéder ces notions à la dignité de catégories sociales objectives, nous avons entrepris dans ce travail de déconstruire leur apparente cohérence en nous appuyant sur l’analyse d’une immersion de plus de 15 ans dans l’écosystème des TPE innovantes. Nous avons par lasuite établi un parallèle entre la dynamique historique de développement du numérique et une dynamique collective d’émergence de nouvelles formes de solidarité. Cette approche nous invite à considérer ces phénomènes comme un symptôme et une étape du processus de transformation des organisations appelé « innovation », au cours duquel les questions relatives aux nouvelles technologies produisent des mobilisations collectives et atteignent ainsi un seuil de politisation aboutissant à l’émergence d’institutions de régulation conjointe. / With the social upheaval engedered by the digital transition, a new class of phenomena has entered the realm of established academic concerns. These include Makers, Hackers, Fablabs, Hackerspaces and other third places. An ever-increasing number of studies are devoted to them. Their media visibility is unavoidable. And some actors within this environment are now engaged in institutionalization. Our aim is not to elevate these notions to the rank of objective social categories. Instead, relying on a fifteen year field immersion within the innovative SME ecosystem, we undertake here thedeconstruction of their apparent coherence. We subsequently draw a parallel between the historic dynamics of digital transition and the collective dynamic that has yielded the emergence of new forms and structures of solidarity. This perspective leads us to consider these objects as a peculiar step in organizations’ transformation process, the digital transition, during wich technoloy related issues tend to produce collective mobilizations. In turn, these pass a threshold of politicization, which leads to the emergence of arenas of « joint regulation ».

Background: Due to the ongoing COVID-19 pandemic, the associated restrictions and recommendations has forced a transition into a more digital and virtual environment. Thus, businesses have faced numerous challenges regarding both leading and working at a distance. Leading to an increased need for digital skills and new ways of working, as has been advocated by successful international consulting firms. Purpose: The purpose of this study was to develop the research about distance leadership, leadership in virtual and digital contexts, and leadership in crisis. Thus, the aim was to investigate and compare team leadership, such as it was before the recommendation and restrictions caused by COVID-19, with the present. Research question: How has the forced digital transformation affected the team leadership from the perspective of both leaders and employees? Methodology: A case study was conducted in which semi-structured interviews, a collection of background information and data from an internal personnel survey was used to gather in-depth information. Conclusion: The results from the case study indicated three main challenges: internal communication, the need for combined and adaptable leadership, and the observed outcomes from the relation-oriented and task-oriented behaviors.

Cette thèse se propose d’étudier les mutations engendrées par la globalisation numérique au sein de dispositifs de formation à distance. Elle s’intéresse au cas spécifique des universités ouvertes dans plusieurs pays. Ces systèmes, qui permettent généralement l’accès aux études à distance et sans condition spécifique d’admission, diffusent de façon massive des programmes d’enseignement. Majoritairement présentes en Asie, elles se sont implantées dans de nombreux pays, en particulier dans le Commonwealth. Le cas des universités ouvertes permet ainsi d’adopter une perspective comparative, sur des terrains habituellement peu fréquentés par la recherche francophone. À travers l’analyse d’entretiens confrontés à des discours institutionnels, la thèse s’appuie sur une méthodologie permettant de qualifier la transition numérique au sein de huit universités ouvertes du monde, en Afrique, en Europe et en Asie. Elle propose un modèle de compréhension des mutations subies dans ces organisations distancielles dans une perspective globale (MOTION). Ce modèle permet de décrire un système dans sa dynamique d’évolution et d’anticiper les évolutions futures. / This thesis explores the variations of digital globalization within distance-learning systems. It studies the specific case of open universities in different countries. These systems, which generally provide access to post-secondary education with no prior requirement for admissions, develop educational programs on a massive scale. These programs, located in many countries, are predominantly active in Asia and most particularly in the Commonwealth. This example allows us to adopt a comparative perspective in an area that is not typically explored through Francophone research. Through the analysis of interviews contrasted to institutional discourses, the thesis presents a methodology qualifying the digital transition in eight open universities of the world: Africa, Europe and Asia. It proposes a model for understanding the transformations experienced in these distance-learning organizations within a global perspective (MOTION). This model provides a description of the dynamics within a system’s evolution process and anticipate future evolutions.