Submitted by Jussara Moore (jussaramoore@id.uff.br) on 2017-02-15T12:21:29Z No. of bitstreams: 1 PPGCI UFF CARUSO DISSERTAÇÃO 2015.pdf: 2526703 bytes, checksum: 0170c20654ea0a5a6111413a6a160966 (MD5) / Approved for entry into archive by Jussara Moore (jussaramoore@id.uff.br) on 2017-02-15T12:36:47Z (GMT) No. of bitstreams: 1 PPGCI UFF CARUSO DISSERTAÇÃO 2015.pdf: 2526703 bytes, checksum: 0170c20654ea0a5a6111413a6a160966 (MD5) / Made available in DSpace on 2017-02-15T12:36:47Z (GMT). No. of bitstreams: 1 PPGCI UFF CARUSO DISSERTAÇÃO 2015.pdf: 2526703 bytes, checksum: 0170c20654ea0a5a6111413a6a160966 (MD5) / Busca analisar as ações de pesquisadores acadêmicos na web aberta. Para tanto faz uma revisão de literatura de problemas norteadores da pesquisa como o conceito de abertura (openness), a consumerização da tecnologia da informação, e as correntes de pensamento da ciência aberta. Faz uma introdução de questões relacionadas a produção do conhecimento na academia, como a dos pesquisadores e o ethos da ciência, as tradições de pesquisa acadêmicas e o ciclo de vida da pesquisa acadêmica. Para a criação da metodologia para análise das ações dos pesquisadores, a gestão do conhecimento é vista como uma disciplina que provê a definição de critérios para a utilização de tecnologias emergentes para a colaboração e a pirâmide do engajamento para identificar as ações possíveis na web. A partir da fundamentação teórica, desenvolve uma metodologia para avaliação das ações de engajamento acadêmico através da análise de sites de pesquisadores e da colaboração através do envio de um questionário. Em suas conclusões identificou a diversidade de ações dos acadêmicos em relação às formas de engajamento e adoção das tecnologias digitais, em consonância com a emergência de iniciativas relacionadas a própria ciência aberta. Além de sugerir direções para novas pesquisas em ciência da informação relacionadas ao tema. / This dissertation proposes to analyze the actions of academic researchers in the open web. It offers a literature review on the guiding problems of research such as the concept of openness, the consumerization of information technology, and the currents school of thought of open science. It introducts issues related to the production of knowledge in academia, the researchers and the ethos of science, academic research traditions and the life cycle of academic research. For the creation of a methodology for analysis of the actions of researchers, knowledge management is seen as a discipline that provides the definition of criteria for the use of emerging technologies for collaboration and the Pyramid of engagement was used to identify possible actions on the web. Based on theoretical foundation we develop a methodology for evaluation of academic engagement actions by analyzing researchers sites and also collaboration by sending an online questionnaire. In its conclusions identified the diversity of actions of researchers in relation to the forms of engagement and adoption of digital technologies, in line with the emergence of initiatives related to open science. And suggests directions for further research in Information Science related to the theme.

Digital technology has radically disrupted the established ways of organising the film industry. However, digital initiatives such as marketing and distribution strategies involving social media and online distribution have also provided means through which filmmakers manage this environment. I investigate the role of the digital data involved, which I term Digital Engagement Metrics (DEMs), in market reconfiguration. Through exploratory, longitudinal case study of market construction for independent films, the thesis articulates the interdependent combination of attributes that co-constitute DEMs' highly mobile, and multifaceted valuation capacities, and develops a conceptualisation of their role as a market device. I engage with the literature of translation, calculation, and the performativity and materiality of markets. I then develop an approach for tracing market activity to understand the interaction of networked agencies that shape the arrangement of economic transactions. My analysis is delivered in three empirical chapters, which provide rare data on the emergent digital practice of a film production company. I chart the progressive establishment of DEMs' role in the hybridisation of established market attachment frameworks, and the instantiation of new modes of coordinating market actors. I conclude that the dynamic assembly, content and distributed architecture of market arrangements involving DEMs simultaneously shape the product and enable its calculation. In addition to extending the reach of market studies into a new empirical field, I make a number of contributions to the theoretical literature. My findings bring two coordinating kinds of performativity into focus. These are the creation of felicitous conditions required to mobilise DEMs as an organisational concept, and the digital materialisation of the audience both as the market, and as a qualified property of the market object. Reading DEMs through the market devices lens renders previously hidden modes of calculation visible, and this has implications for developing assemblage-oriented research in the creative industries.

Since the 1990s, a trend in the UK museum sector for developing community partnerships has witnessed a ‘participatory drive’ that aims to embrace social diversity by engaging communities in the co-creation of exhibitions and other museum work. In this context, the Internet broadly, and social media in particular, are seen as complementary to museum processes of reciprocal exchange and public access. However, as this thesis stresses, treating the Internet and social media as complementary and convergent with the participatory drive in museums is assumptive and has been under-analysed, and its difficulties and complexities understated. In this context, this practice-based research carefully unpicks and critically analyses naturalised assumptions about online resources and social media practices in museums by tracing the cultural history through which the participatory museum has developed and contrasting it with the much later sociology of the Internet. The participatory drive is seen to be mediated through society’s agencies for local governance, healthcare and education services, as well as neighbourhood groups and families. These structures act then as a bridge organising people in space and time. In turn, museums’ digital practices often assume similar social organisation in their approach towards public engagement. However, the distributed architecture of the Internet has the effect of compressing time with space, enabling group organisation and public spaces to bypass society’s structures and instead place the individual at the centre of a network of relationships that self-organises according to the social capital displayed in online behaviour. Accordingly, the thesis argues, there is anapparent mis-match between museums on the Web and the online public, which affects negatively public engagement online. By bringing Bourdieu’s theories of social space and social capital into the realm of the Internet, drawing on cultural historical activity theory and reflecting on a research residency at the Whitworth Art Gallery, this thesis goes on to examine why museums find it challenging to engage with online publics. Its research practice aimed to ‘open’ the digital collections of the participating museum into the same time and space as the online public. This included triggering, following, documenting and critically reflecting upon processes, challenges and actions of digital engagement and the people involved in them. The thesis reflects on the research practice’s organisational and cultural challenges, which relate to the fact that it contradicted the museum’s existing departmental organisation and symbolic representation of public access and engagement. It goes on to argue that when digital practices of museums are attuned to the ecology and spatial structure of the online public, the outcomes are misrecognised as unrelated to museums’ core practices of social inclusivity. Instead, the argument continues, museums need to open up to emerging concepts of digital public space and publicness, in order for their digital practices to be relevant to online publics.

From changing consumer relationships to demands for new experiences, performing arts institutions are under increasing pressure to embrace digital transformation. Technology is altering how audiences engage with the arts. Preferences and consumption habits are rapidly evolving. Strategies to sustain existing formats, customers, and revenue models are unlikely to succeed. Cultural institutions in general and performing arts such as orchestras, ballets, and operas are rapidly adopting technology – with millions of social media followers, streaming services, and online ticketing. Yet, these initiatives are fragmented, hard to assess, and there is very little known on how to digitally transform performing arts institutions overall. This research asks: What are the mechanisms driving digital innovation in performing arts institutions, and specifically in orchestras? The research approach includes three qualitative studies, which use a semi-structured questionnaire with fifty performing arts organizations. Study 1 explores the overall practice of digital innovation in the performing arts. Study 2 more specifically examines the role of engagement as a mechanism to understand digital transformation in the performing arts in general, and orchestras in particular. Study 3 maps the mechanisms of digital engagement to uncover digital transformation in the performing arts and defines engagement. This research makes several contributions to theory and practice by identifying the performing arts as an important area for applying digital transformation. A research framework was developed through synthesis of performing arts, innovation, business model, and engagement literature. Engagement was defined and identified as an important construct for digital transformation. The components, development, instantiation, and impact of engagement were elaborated in a set of propositions that summarize the role of digital transformation in the performing arts. Finally, the research provides recommendations and action items for arts administrators. / Business Administration/Management Information Systems

The thesis focuses on bubble tea market in the Czech republic in relation to Bubbleology company. The objective of the thesis is to analyze the marketing mix of this company and suggest additions that would increase the awareness for the brand and subsequently increase the profits. First the target group is identified with the help of on-line questionnaire. Then leading bubble tea brands are described and the main competition for Bubbleology is identified. Follows analysis of the marketing mix. Proposed is increase in digital engagement with the help of social networks and mobile app. Improvements to promotions in the shopping malls are also suggested. The concepts are then verified with the help of focus groups.

Despite our digitally interconnected world, media representations of people and cultures are often harmfully biased or narrow. This makes it difficult for viewersto understand the conditions, feelings, and struggles of others, not only on a global scale, but also within local contexts. This study explores whether or not digital engagement of a site-specific performance piece is transculturally effective. To evaluate this, a theater piece created and performed in Johannesburg, South Africa, and digitally disseminated to a global audience is used as a case study. The study analyzes the perspective of three response groups: (1) the “Makers”, those who were involved in the creation and meaning-making process of the performance, (2) local audience members (both live and as digital viewers), and (3) a digital global audience. Comparing the results from these groups allowed me to understand what meanings/themes transcend culture and which are dependent on cultural context, based upon the differences in response groups. Ultimately, this study aims to contribute to a deeper understanding of the intersection between site-specific theater, digital technologies, and cultural identity. What I found was that although some symbols and themes were universal, overall, the global audience reported a different experience than the local audience, and my data suggest that the site-specific work did not translate well to the transcultural audience. Additionally, the intentions of the performance by content makers were often not congruent with the received and reported meanings. These results make it clear that the transcultural communication of site-specific works may require additional efforts to make the content accessible, relatable, and understandable to global audiences who will view the works outside of their original cultural context.

This quantitative study examined teacher perceptions on the relationship between technology, student academic behaviors, and performance in blended 9th-12th grade settings through pre-COVID-19 Pandemic and post-COVID-19 Pandemic learning experiences. This replicate study explored the relationship between teacher perceptions of student motivation and student autonomy and their relation to technology implementation in face-to-face instruction and blended learning environments. Particularly, this study analyzed how student motivation and student autonomy were affected by blended learning technologies and teaching strategies introduced after the onset of the COVID-19 Pandemic. Data were examined to investigate teacher perceptions on the relationship between technology, student academic behaviors, and performance in blended learning 9th-12th grade settings through pre-COVID-19 Pandemic and post-COVID-19 Pandemic learning experiences in two east Tennessee school districts. Participants of this study included 42 high school teachers post-COVID-19 Pandemic in 2023 and 75 high school teachers pre-COVID-19 Pandemic in 2020 within two school districts in east Tennessee. Statistical analyses of the data revealed significance on participant teacher perceptions of student motivation and student autonomy. Findings did not correlate to the original study. The research revealed there was a significant difference in teacher perceptions of student autonomy in the face-to-face instructional setting. Findings indicated teacher perceptions of student motivation were significantly higher post-COVID-19 Pandemic compared to pre-COVID-19 Pandemic.