This dissertation addresses a lack of knowledge about chat reference and location-based questions and the implications of this lack of knowledge on chat reference consortia. Chat reference and location-based questions refers to the question-negotiation process in the chat mode of responding to users' location-based questions. In one statewide chat reference consortium, Ask a Librarian, users are able to pose questions to any information provider from 103 participating information agencies. In turn, any agency's information provider is able to respond to questions from any user. This situation creates a scenario whereby in order to respond to a location-based question, an information provider must determine the location or locations in the question to formulate a correct response. Additionally, because local information providers are closer in proximity and more familiar with a location or locations within his or her same county, he or she may provide a higher correct response fill rate to location-based questions than a non-local information providers. This study's methodology utilizes content analysis, quantitative analysis, focus groups, and unobtrusive testing to address research questions that explore the types of location-based questions, the question-negotiation process in the chat mode of responding to these questions, and the correct response fill rate of consortium information providers. Practical recommendations from this study include populating the consortium's knowledge base with local knowledge, especially information about participating information agencies. Findings indicate that chat consortia may overcome the potential weakness of location-based questions (i.e., referral, incorrect response) if participating information agencies improve their online dissemination of local knowledge related to frequently asked location-based questions. / A Dissertation submitted to the School of Library and Information Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester, 2010. / February 24, 2010. / Chat reference consortia, Evaluation, Virtual reference, Digital reference / Includes bibliographical references. / Charles R. McClure, Professor Directing Dissertation; Lisa Jordan, University Representative; Gary Burnett, Committee Member; Ebrahim Randeree, Committee Member.

Yes / Developments and advances in information and communications technology are boosting a convergence of computing, media, and telecommunications. This is dramatically affecting every aspect of society from technology designers and content creators to users. The design-to-product cycle time continues to decrease as new markets open up, and windows of opportunity exist for those who can move fast and make the right connections. Challenges and opportunities exist in each area of the convergence, but one thing is here to stay: being digital.

Thesis (M.A.)--Ohio University, June, 2006. / Title from PDF t.p. Includes bibliographical references (p. 78-81)

Syftet med denna studie har varit att undersöka och få insikt i förskollärarnas syn på att använda digitala medier som stöd och hjälpmedel i den pedagogiska verksamheten. Särskilt fokus lades på språkutveckling. I studien undersöks hur förskollärarna säger att de använder digitala verktygen samt inom vilka områden. Dessutom omfattar den en analys av förskollärarnas digitala kompetens. I studien användes kvalitativ intervjumetod där fyra förskollärare har intervjuats. Förskolorna ligger i en storstad i Mellansverige. Resultatet från denna studie påvisar att digitala medier är uppskattade och gillas av både förskollärare och barn. Ipad är det mest populära verktyget i verksamheten. Den används dock inte så mycket som pedagogiskt verktyg då förskollärarna känner sig sakna kompetens för det, vilket leder till osäkerhet och försiktighet. Ipaden används därför mer spontant och inte så målinriktat. Barnen är intresserade och blir språkligt aktiva och engagerade när de får använda den. Det uppstår ett socialt samspel mellan barnen och förskollärarna, barnen kommunicerar sinsemellan och med förskolläraren. Det är ganska tydligt att deras språk utvecklas.

In this thesis, I argue that traditional Chinese thinking and its manner of approaching art can be successfully expanded onto a different platform: digital media art. My research (both in theory and practice) shows how this transformation expands the notions of time and space and forges new interdisciplinary correlations by addressing traditional Chinese culture in four different but interrelated manifestations: the philosophy of Dao, calligraphy, painting and sculpture. As a result, I claim that digital media can shift the notions of time and space from traditional Chinese thinking into contemporary digital art. Conversely, the digital concept of time and space can be interpreted by an analysis of (i) the traditional Chinese philosophy of Dao, so as to understand how ancient Chinese perceived the universe of time and space; (ii) four areas of Chinese art addressed in my theoretical and practical research (as elaborated in subsequent chapters). For example, a new understanding of ‘scroll format’, ‘play-appreciation’ and Chinese digital art has been introduced through my own practice. In fact, this direction has not been sufficiently dealt with in the past, and deserves more attention in the future. The thesis demonstrates how my practical research was heavily influenced and contextualized by my theoretical research, while the result of my practical artwork applies, expands and transforms that theory. This thesis aims, both theoretically and practically, at providing the reader with a new experience – the perception of the notions of time and space inherent in traditional Chinese thinking – by combining these concepts with digital technology.  Many different methods used in traditional Chinese scroll painting and calligraphy have in their day investigated and developed new ideas of time and space – e.g. multiple perspectives, binary visual modes, visible and invisible spaces, reversed images and inverted vision. All of these concepts could be further extended through digital moving images and interactive art in order to provide the audience with a new spatiotemporal dimension as an enhancement of visual experience and knowledge.

Through my experimental practice (i.e. interactive art, moving images, workshop and exhibitions), I have illustrated how digital art and digital technology can build on the notions of guan (觀; ‘to observe’), and you (遊; [1] ‘to tour’, ‘to travel’; or [2] ‘to roam’, ‘to saunter’). Furthermore, digital art can help viewers use the notions of play and appreciation – wan shang (玩賞, ‘play-appreciation’) – in Chinese context exhibition spaces. By exploiting this new dimension of experience, contemporary Chinese artists will, it is hoped, be able to introduce the spirit of traditional Chinese thinking to digital platforms, creating a guide that not only broadens the notions of time and space for digital media artists and audiences, but also forges new correlations between the various disciplines of philosophy and media art.

This thesis, therefore, rests on three investigative pillars: (1) contextual analysis through the history of Chinese art and – to a lesser extent – Western art; (2) the possibilities of modern digital media art; (3) analysis and application of the Chinese philosophical tradition (art theory and the notion of time and space) to elucidate and develop the interface between traditional Chinese and modern digital art. The result of my research has shown that what emerges from – and also motivates – the investigation is an understanding that digital art (moving images and interactive art) is an appropriate and effective medium for the communication and deepening of Chinese cultural awareness. My research structure and development is divided into six steps as follows: Firstly, in developing this thesis, I posit that the ideas of time and space [Chinese terms and terminologies: shi jian (時間,‘time’), kong jian (空間, ‘space’), and yu zhou (宇宙, ‘the universe’)] have been handled in traditional Chinese scroll painting and calligraphy through the application of multiple perspectives, binary visual modes, visible and invisible space, the passing of time, and non-linear narratives. When these potentials are reproduced by media artists, novel insights, experiences and knowledge about time and space are re-interpreted for their audiences, while the history of time and space tends to collapse. Secondly, I examine the idea of the ‘Yellow Box’, whose original aim was to suggest a novel approach to the understanding of the relation between contemporary Chinese artworks and museum-based exhibition space. I argue, however, that such a direction does not consider the potential of digital media art, and my practical projects demonstrate that the ‘Yellow Box’ idea still has room for further development in its application to digital art history. Moreover, the analysis of time and space offered here in the context of my own media-art production process (custom software and hardware) can benefit other researchers and artists. The attempt to illustrate Chinese art theories and to document and reflect upon different ways of perceiving the position and role of the audience can provide a unique and fruitful insight into the incorporation of Chinese thinking and manners into media art practice. Thirdly, I analyse the correlation between traditional art and contemporary digital media art in relation to time. I first illustrate how multiple spatiotemporal experiences merge into one pictorial space in terms of non-linear narrative in some significant traditional Chinese art pieces, and then argue that digital art can actually help to re-interpret the traditional Chinese notion of time in a modern dimension. The results of my study reflect how the notions of (1) cycle, (2) non-linear narrative, and (3) ‘play-appreciation’ in ancient Chinese art correlate to the elements of ‘looping’ and ‘layering of content’ in digital art, which allow viewers to have real-time experience of ‘time passing and transitioning’. My analysis, however, also indicates that some contemporary Asian digital artworks (all relating to time transition) have not yet considered the viewer’s spatiotemporal experience in relation to such idea as ‘play-appreciation’ through viewers’ bodily engagement. Fourthly, I examine the spatial correlations between Chinese and media art, and argue that there are many correlations between the past and contemporary Chinese art in the ways in which viewers’ virtual and physical experiences have been applied. I analyse how the idea of ‘two different positions of the viewer’, through painting, reliefs and gunpowder in China, correlates with digital media art today. Such correlation allows the artist to play with the idea of ‘multiple identities’ through digital media (e.g. dual and multiple screens). The results of the analysis reveal a strong correlation between traditional art forms and modern digital media art that permits the artist and the viewer to manipulate the idea of ‘multiple identities’ through dual and multiple screens in both real and virtual spaces. 
Reflecting this, my practical project demonstrates how pictorial and virtual space function as part of one’s cultural identities through viewers’ bodily engagement. For example, in line with my experience of multiple-identities in relation to my own Indonesian-Chinese background on the one hand, and the ‘upstairs culture’ of Hong Kong on the other, I combined a series of fragmentary stills and moving images in the ‘Upstairs / Downstairs’ project (2004-2012) to demonstrate how digital technology can help visualize the notions of multiple viewpoints through multiple screens. From there I went on to ask whether my Asian cultural background could help transform traditional visual experiences onto a digital platform by integrating a sense of ambiguity and multiple identities.

The research uses Burgert (1998) and Brody Neuenschwander’s (2000) ideas of the ‘Linear Graphic’ to explore the creative and expressive qualities of the line. In addition, the characteristics of Ch’i are also analysed and identified. This is achieved by exploring and interpreting classic Chinese principles such as ‘Ch’i Yuen Shen Tung’ (Rhythmic Vitality), ‘Harmony of the Mind and Hand’ and ‘Stilling the Heart’. As a result, new approaches of ‘Simplicity’ and ‘Spontaneity’ have been developed for Western calligraphy. These approaches demonstrate the requirement of the control and integrity of the calligrapher. The research also places emphasis on the development of one’s ‘self-being’ to cultivate the internal and external aspects of calligraphy. This is achieved through the creation of calligraphy pieces as part of this developmental process. Digital media are also explored by using these same principles and approaches. New characteristics and processes such as ‘Layering’, ‘Reusability’ and ‘Simplicity and Complexity’ in print based calligraphy, as well as ‘Dynamism’, ‘Customisability’, ‘Impermanence’ and ‘Interactivity’, in computational calligraphy have emerged as a result.

University of Macau / Faculty of Social Sciences. / Department of Communication

This dissertation examines the nature of the American digital public square in the 2010’s, a place where people learn about and come together to discuss matters of public concern. The newly digital public square is a key component of any functional democracy in the twenty-first century. The dissertation seeks to shed light, not only on the capacities of today’s news media institutions to produce and efficaciously distribute news and information and support a capacity for discussion and deliberation that provides a “public intelligence” on matters of concern, but also on the newly enlarged role of the public in new rituals of digestion of such news. The work draws upon multiple systems-focused analyses of the public square, interviews, and analyses of news production, the economics and dynamics facing those who both produce and distribute news, and the broader literature about and studies of the public square. Despite the manifest uncertainty regarding how journalism will be supported and the success of a politics where rhetoric is often untethered to the truth, a temptation still exists to see the changes to the public square in a piecemeal fashion and to assume the institutions, business models, and practices of the future will be minor modifications on or variations of the past. Much scholarship concludes that the patterns of decay and growth in this area will eventually generate equilibria in terms of press freedom, news production, news distribution, and engagement that are familiar, no less efficacious than, and only marginally distinct from those of the latter half of the twentieth century. In his book The Marketplace of Attention, Professor James Webster concludes that “the cultural ballast provided by the old media will remain with us,” and that polarizing forces will meet their match with the forces that concentrate public attention (Webster 2016). In contrast, this dissertation argues that the combination of forces acting upon the digital public square and its emergent dynamics in the late 2010s means it is already functioning in a qualitatively different manner than the largely analogue public square of the past and, as structured, it is increasingly failing to serve individuals, groups, communities, the public writ large, and most importantly our democratic processes. This argument is built on insights from my nearly a decade of work in the media reform community—specifically, from three systems analyses I developed leading the Public Square Program at the Democracy Fund of the dynamics surrounding civic engagement and the production of local news, the dynamics of audience attention, and public trust and press freedom. After making the case for the difference that already exists, the dissertation argues that, without engagement of a wide range of actors (civic, political, and commercial) in support of much-needed changes to institutions, along with policies that will support a renewal of civic media and a focus on new practices more appropriate for the rituals of the digitally and data-infused world we live in, it is entirely possible the public square will fail to adequately support democratic ends. The dissertation concludes with recommendations to avoid this outcome.

While youth media production work has increased dramatically over the past two decades, researchers still lack an adequate theorization of how institutionally-mediated youth production programs instigate democratic acts. Central to this deficiency ares hortcomings in the two dominant frameworks typically used to conceptualize the democratic potential of young people's media work. In response to this, I turn to the work of Hannah Arendt and use her conceptualization of public action as framed in relation to a "pedagogy of natality" to assess the relationship between creative youth practice and democracy. While Arendt's framework offers a compelling vision of democratic action, her model is also invaluable for mapping how production work affects adolescents' democratic experience. It focuses the analytic lens on agonistic struggles that expand the way youth register and pay heed to plurality. I demonstrate this utility through a critical ethnographic study of the Summer Visions Film Institute, an initiative designed around a series of two-week digital video production programs for youth aged 14-19. In examining the Summer Visions program, I address the experience of student video producers but focus close attention on the work and experience of peer-to-peer youth mentors in the program for the following reasons. First, peer education has a role in many youth media programs but there continues to be a dearth of research on peer mentorship in media production settings. Second, while student participants take part in Summer Visions for ten days, the mentors are involved in production work on a daily basis over a seven-week period. Most are also former students of the program and so they offer a more robust set of case studies. Using Arendt, I demonstrate how media production programs contribute in contradictory but nonetheless important ways to the formation of new publics, not because such work leads to straightforward forms of position taking about specific political projects, but because it leads to forms of thoughtfulness that challenge the lure of oblivion that haunts our lives and prevents us from seeing those who are different and yet part of our worlds.

As interactors we often allude to a sense of presence, of being there, when experiencing interactive artifacts. Digital technologies can create a sense of presence within a synthetic environment, that of being in a technologically mediated space. As a result, ideas of space and place are fundamental to the use of digital media. Related metaphors pervade our language and use of technology; we explore virtual worlds, surf online, and chat in rooms. The field of humanist geography can be used to examine digital media practice across several domains. Exploring the concept of place in relationship to a video game, website, or mixed reality environments question contemporary definitions of presence. As a result, a theoretical foundation for the design of artifacts may create a strong sense of place, and thus enhance our understanding of presence.