This thesis investigates the User eXperience (UX) and risks associated with Virtual Reality (VR) technology in museum exhibitions. The study builds upon the Hybrid Museum Experiences: Theory and Design by Løvlie, Sundnes et al. (2022) and adopts the User eXperience in Immersive Virtual Environment (UXIVE) Model developed by Tcha-Tokey et al. (2018). The aim is to analyse the interplay between Flow, Presence, and Experience Consequence in VR experiences and assess the impact of computational skills on user engagement. Additionally, the study evaluates the effectiveness of VR exhibits in addressing common risks. Findings indicate a positive correlation between experience consequence and flow, as well as suggest a potential influence of computational skills on flow, and highlight the significance of presence in fostering engagement and immersion. The VR exhibits effectively mitigated the common risks, as reflected in positive participant feedback. This research contributes to enhancing UX in VR museum experiences and provides insights for designing immersive exhibits while managing associated risks. Further research is recommended to validate the study's inferences and delve deeper into the influence of computational skills on flow.

In this thesis, the practice of Chaos magick and the practice and mythology of Discordianism are compared to different subversive techniques used in internet culture and specifically in internet trolling. Chaos magick is described from the sigil-making of Austin Osman Spare through the playbacks of William S Burroughs to contemporary practitioners. The Chaos magick practices unveiled in this investigation are compared to practices in internet culture and specifically internet trolling through avariety of different themes, from memes to doxing to the chaos of apophenia.

博士(文化情報学) / Doctor of Culture and Information Science / 同志社大学 / Doshisha University

This master thesis aims to analyse the data curation situation and the decision-making processes of the archivists at the Swedish Peace Archives. With the theories in data curation and methodology in analysing both accessible web content and interviews, this thesis hopes to shed light on the institutional perspective in managing digital archives. By studying and analysing the empirical materials from the online archive websites and the database, the data curation theories are applied to locate the archive practices at different levels. The method in collecting qualitative data from interviews with the archivists gives insight into archive works and digitisation processes in the digital archives today.  The results show the complexity in data management from digitisation to curation, and digital archives as an information-intensive digital environment has caused the merge of humanities and archives scholarship. This shows the limitation in the data-centric digital humanities frameworks when discussing archive management and technical interoperability. A further study with more focus on individual institutions with their unique workflows, stakeholders, and material types in mind is therefore suggested.

No description available.

Scholars have repeatedly contrasted the 1805 and 1850 versions of William Wordsworth’s The Prelude since the discovery and publication of the former by Ernest De Sélincourt in 1926. Points of contention have included the 1850 poem’s grammatical revisions and shifts toward greater political and religious orthodoxy. While these discussions have waned in recent decades, digital humanities tools allow us to revisit oft-debated texts through new lenses. Wanting to examine scholarly claims about The Prelude from a digital humanities perspective, I collaborated with Dr. Billy Hall to enter both versions of the poem into a data analysis and visualization tool, which displayed the results in topic-modeling outputs and most-frequent-words lists. The 1805 and 1850 topic modeling outputs were essentially identical to one another, suggesting either that scholars have overstated differences between the versions or that the themes of the poem may have evolved in ways not easily captured by my digital humanities methods. On the other hand, the most-frequent-words lists revealed some notable discrepancies between the two Preludes. One set of lists included articles, conjunctions, pronouns, and linking verbs (otherwise known as “stop words”), demonstrating, for instance, that the word “was” appeared with significantly less frequency in the 1850 Prelude. I found that other linking verbs also decreased in the 1850 Prelude, and this discovery prompted me to conduct a stylistic analysis of said verbs. Knowing that a raw statistical count of linking verbs in both texts would reveal only an incomplete portrait of Wordsworth’s shifting verb usage, I divided the verb revisions into two primary categories: replacements of linking verbs with dynamic verbs and descriptors, and removals of lines containing linking verbs. While scholars have previously highlighted the replacement of linking verbs with dynamic verbs and descriptors in the 1850 Prelude, these revisions only account for 30% of the 1850 linking verb revisions. In fact, the majority of linking verb revisions consist of removed 1805 lines. Many of these lines are declarative statements—the removal of which suggests that Wordsworth preferred, in some cases, a less prescriptive approach in the 1850 Prelude.

In order to facilitate the automated extraction of complex features and structures within narrative, namely plot in this study, two proof-of-concept methods of narrative visualization are presented with the goal of representing the plot of the narrative. Plot is defined to give a basis for quality assessment and comparison. The first visualization presented is a scatter-plot of entities within the story, but due to failing to uphold the definition of plot, in-depth analysis is not performed. The second visualization presented is a graph structure that better represents a mapping of the plot of the story. Narrative structures commonly found within the plot maps are shown and discussed, and comparisons with ground-truth plot maps are made, showing that this method of visualization represents the plot and narrative flow of the stories.

Embedded in the quilt top, the fabric patches are relays, time pathways to stories and memories of their former owners. Through the quilts, the voices of the past survive. The stories trace a path of connection between oral traditions, storytelling, the invention of meaning, and the preservation of cultural memory. The theory and method described herein use the quilt patchwork metaphor as the basis for a web interface for designing and modeling knowledge-based graphical, narrative, and multimedia data. More specifically, the method comprises a digital storytelling and knowledge management tool that allows one or more users to create, save, store, and visually map or model digital stories. The method creates a digital network of a community's stories for digital ethnography work. Digital patches that represent the gateway to the stories of an individual are pieced together into a larger quilt design, creating a visual space that yields the voices of its creators at the click of a mouse. Through this narrative mapping, users are able to deal with complexity, ambiguity, density, and information overload. The method takes the traditional quilt use and appropriates it into a digital apparatus so that the user is connected to multiple points of view that can be dynamically tried out and compared. The hypertextual quilting method fulfills the definition of a deconstructive hypertext and emancipatory social science research methodologies by creating a collaborative, polyvocal interface where users have access to the code, content and conduits to rewrite culture's history with subaltern voices. In this digital place of intertextuality, stories are juxtaposed with images in a montage that denies the authority of a single voice and refuses fixed meaning. In dialogue, contestation, and play, the digitextuality of the Digital Story Quilt provides a praxis for critical theory. The Digital Story Quilt method concerns itself with questions of identity, the processes through which these identities are developed, the mechanics of processes of privilege and marginalization and the possibility of political action through narrative performance against these processes.

The archive and the historian are symbiotically dependent on one another. The archive relies on the historian to make use of the records it houses, and the historian looks to the archive to reconstruct history. But can a historian responsibly reconstruct history when the archive is fraught with relativity and bias? This thesis serves two purposes; one, pulling from seminal archival science and collections management texts, it chronicles the monumental, intellectual changes to American archival sciences, theories, and institutions, and two, it shows how these early conversations pertaining to archival theories are both not far removed from digital preservation efforts and at times incompatible with the unique non-analogous problems created by web-born sources. But as this thesis argues, theoretical offerings are not always the most implementable for archives; the crux of archival science has historically and contemporarily been responsibility versus practicality, particularly in regard to appraisal theory. These problems exacerbate in the digital realm where the sheer amount of records and material produced by the second warrants extremely narrow but careful collecting. To not add to the overwhelming problem of digital appraisal theory, this thesis offers tangible solutions to help mitigate irresponsible collecting practices.

No description available.