I takt med den digitala revolutionen har vidden av skivbolagens aktiviteter reducerats. Idag kan individer göra mycket på egen hand som skivbolagen traditionellt sett gjort för sina artister. Rollen som de spelar anses inte vara lika väsentlig i en artists karriär till följd av digitaliseringen.       Syftet med denna studie är att skapa förståelse för hur skivbolagens roll ser ut i en digitaliserad och tjänst-dominerad musikbransch. För att kunna besvara syftet har tre semistrukturerade intervjuer utförts, varav en består av två respondenter. Intervjuerna genomfördes med skivbolagen Universal Music, Amuse och ett independent bolag i Stockholm.      Studiens empiri visar att aktiviteterna som skivbolag utför är anpassat utefter digitala medier, samt att alla respondenter menar att även om artister i dagsläget kan göra allting själva, är det lättare att lyckas med hjälp av ett skivbolag.      Slutsatserna som nåtts är att skivbolagens roll ser ut på det viset att de är artisternas partner, som innebär att de är med dem, och inte för dem. Rollen skivbolagen har i en digitaliserad och tjänst-dominerad musikbransch innebär att de erbjuder artisterna kunskap, kontakter och kapital. Skivbolagens roll har försvagats inom de traditionella aktiviteterna marknadsföring och distribution, och anses istället finnas som stöd och komplement inom dessa aktiviteter. Skivbolagens roll har istället blivit viktigare när det gäller att upptäcka, bygga samt driva artisternas karriärer. / With the digital revolution, the scope of record labels’ activities have been reduced. Today, individuals can do a lot on their own, that record labels have traditionally done for their artists. The role they played is not considered as important in the career of an artist today, due to digitization.      The aim of this essay is to examine and create insight on how record labels’ role looks like in a digitalized and serice-dominated music industry. To do this, three interviews have been carried out, whereof one interview included two respondents. The interviews were held with the record labels Universal Music, Amuse and an independent label in Stockholm.      The results show that the activities that record labels perform are adjusted according to digital media. The results also show that all of the respondents claim that even though artists today can do everything on their own, it is easier to succeed with the help of a record label.      The conclusion is that the record labels’ role is that they are partners with their artists, which means that they are with them, and not for them. The role record labels have in a digitalized and service-dominated music industry is that they offer knowledge, connections and capital to their artists. The record labels’ role has been weakened within the traditional activities marketing and distribution. Instead, they are regarded as existing as a support and complement within these activities. The record labels’ role has therefore become more important in finding, building and operating artists’ careers.

Aus der Einleitung: "Die Zweite Digitale oder auch Vierte Industrielle Revolution, Digitale Gesellschaft und Informationsgesellschaft sind Begriffe für den selben Vorgang, nämlich die Verlagerung von höheren Hirnfunktionen auf eine externe künstliche Intelligenz. Im Unterschied zur ersten Digitalen Revolution, die von der Erfindung des Mikroprozessors und dessen Programmierung geprägt war, führen aktuelle rechnergesteuerte Maschinen nicht nur vorgegebene Routinen aus und reagieren auf Signale externer Sensoren, sondern entscheiden autonom auf der Basis eines multisensorischen Inputs. Sie werden damit als sprachgesteuertes Smart Phones oder als kollaborative Roboter (Elkmann 2016) in einer Fertigung zum Partner des Menschen, dem sie sich anpassen. Smart Phone und Roboter erweitern qualitativ und quantitativ die Möglichkeiten eines Menschen und wirken auf den Menschen zurück. ..."

This thesis aims to describe the current state of employment of people over 50 in the Czech Republic, indicate the reasons and context of this situation and suggest possible solutions to the related issues. All these matters are explored within the context of the international development. The methods employed in this research are statistical analysis and the secondary analysis of documents. The research has brought evidence that Czech society has been changing enormously. Firstly, it is the ageing. And consequently, it faces the growing percentage of elderly people in the population, causing not only problems in the functioning of social protection systems, but also raising the necessity of changes in labour. Secondly, Czech society is undergoing a digital revolution. The increasing use of the Internet and new technologies transforms completely our way of living. The employment of people over 50 is becoming the economic necessity in our struggle to avoid the total collapse of social security systems, yet at the same time, it is complicated or sometimes even hindered by new demands on older workers by the digitalising economics. The importance of ICT competences and language knowledge grows constantly. However, elderly workers unfortunately lack these competences either entirely or at least...

Man denkt sich in der Zeit der digitalen Revolution die Bibliotheken als besonders betroffen von den technischen und kulturellen Umwälzungen, die das Internet mit sich bringt. Das ist richtig. Schon sind fast alle Kataloge online und damit weltweit auskunftsfähig. Bald sind auch große Teile der Bestände unserer Buchkultur digital erreichbar. Was erwartet uns im Jahr 2020? Lösen sich Bibliotheken in Webseiten auf? Wird alles Wissen, zu dem sie Zugang gewähren, nur noch elektronisch kommuniziert? Wenn wir genau wüssten, worin die Attraktivität von Bibliotheken heute liegt, fiele der Blick in die Zukunft leicht.

Диссертация посвящена исследованию трансформации коммуникативной роли кинозрителя в современной культуре на примере альтернативного киноплаката. Автор анализирует процесс трансформации коммуникативной системы в результате цифровой революции, влияние цифровых технологий на художественный процесс создания киноплаката, а также историю и специфику феномена альтернативного киноплаката как особой формы участия кинозрителя в кинокоммуникационных процессах. В работе представлена разработанная концептуальная и содержательная составляющие проекта городского творческого лагеря для подростков «Киноклуб: 24х36» на базе Фотографического музея «Дом Метенкова». Эмпирической базой исследования выступили результаты проведенного социологического опроса, посвященного анализу социально-культурных практик современных кинозрителей и их отношения к киноплакату. / The dissertation is devoted to the study of the transformation of the communicative role of the moviegoer in modern culture on the example of an alternative movie poster. The author analyzes the process of transformation of the communication system as a result of the digital revolution, the impact of digital technologies on the artistic process of creating movie posters, as well as the history and specifics of the phenomenon of alternative movie posters as a special form of participation of the viewer in film communication processes. The paper presents the developed conceptual and content components of the project of the city creative camp for teenagers "Kinoklub: 24x36" on the Basis of the photographic Museum "Dom Metenkov". The empirical basis of the research is the results of a sociological survey devoted to the analysis of socio-cultural practices of modern moviegoers and their attitude to movie posters.

Der Begriff Bildung weist ein enormes Spektrum unterschiedlicher Bedeutungszuschreibun-gen auf und ist Gegenstand diverser Diskurse. Auch Öffentliche Bibliotheken bedienen sich des Terminus und nehmen für sich einen Bildungsauftrag in Anspruch. Eine begriffliche Präzisierung dessen, was sie konkret mit Bildung verbinden, bleibt dabei jedoch außen vor. Dem bibliothekarischen Bildungsbegriff mangelt es insofern an einer theoretischen Fundie-rung und an semantisch-konzeptioneller Klarheit. Die vorliegende Arbeit untersucht daher, nach welchem Verständnis bzw. Ideal von Bildung Öffentliche Bibliotheken in Deutschland agieren. Ein Schwerpunkt dabei ist die Frage, inwieweit bibliothekarische Bildungsvorstel-lungen mit den gegenwärtigen umfassenden Digitalisierungs- und Mediatisierungsprozes-sen in Verbindung stehen. Dem Erkenntnisinteresse entsprechend werden zunächst in ei-ner analytisch-synoptischen Herangehensweise ausgewählte Bildungstheorien vorgestellt und miteinander verglichen. Darauf aufbauend wird gezeigt, inwieweit es Gemeinsamkeiten sowie Unterschiede zwischen diversen Bildungsauffassungen einerseits und den Hand-lungsfeldern Öffentlicher Bibliotheken andererseits gibt. Auf diesen literaturgestützt-analy-tischen Teil der Arbeit folgt die Darstellung einer quantitativ angelegten Studie. Mittels einer Online-Umfrage unter Öffentlichen Bibliotheken in Deutschland werden Thesen, die sich aus den theoretischen Vorarbeiten ergeben, geprüft. Der quantitative Ansatz wird sodann mit einer qualitativen Befragung in Form von Experteninterviews, die der Vertiefung einzel-ner Aspekte dient, verknüpft. (S. Dissertationstext, Kap. Abstract). / „Bildung“ is a specific german concept. The term is not clearly defined and has multiple meanings. For example, it might be associated with self-cultivation, formation, a well-edu-cated person or with a certain state of mind. Just like many other actors, public libraries use that term. But it remains unclear what they mean when they speak of „Bildung“. Finding this out, is the core question of this dissertation. One key aspect here is the question if the digital revolution is connected with the concept of „Bildung“ of public libraries in Germany. To find answers to the research questions, the dissertation includes a theoretical part which gives an overview of different concepts of „Bildung“ and the roots of the term. In addition to that, a comparative analysis of different meanings of „Bildung“ and the self-image and the actions of the public libraries in Germany is presented. The theoretical part is followed by the description of a quantitative study: An online-survey among public libraries in Germany was conducted to test several hypotheses that are based on the previous conclusions and ex-planations. To gain more information, the dissertation uses a qualitative approach as well: Several expert interviews were conducted to explore relevant aspects and details. (S. dissertation, chapter abstract).

This thesis develops quantitative indicators of environmental sustainability for Mexico City and its metropolitan zone of influence (MCMZ). These indicators of sustainability were developed by taking into account seven key variables for the urban environment: the water supply situation, air pollution, transportation and roads, energy, solid wastes, the housing supply and green areas. Based on these indicators and the history of the city's physical evolution since it was founded seven centuries ago, a desirable type of urban form is proposed, one in which there is a "decentralized concentration" which would allow Mexico City to approach sustainability in a time frame that concludes in or about the year 2030. Accordingly, the thesis proposes urban policy measures that, while addressing issues of sustainability, permit Mexico City to face the challenges of globalisation, which would entail transforming it into a "global city'' within a worldwide network of great cities. The urban policy and environmental measures that are recommended anticipate the largest economic, demographic and technological changes that will affect Mexico City, but are above all in harmony with the natural ecosystems of the elevated endorheic basin in which it lies. They do no call for a break with or the alteration of the city's natural landscape or its already constructed historical patrimony and, when possible, they presuppose a new sustainable hydraulic model, capable of restoring lakes and recharging the underground aquifer. Finally, a great deal of emphasis is placed on the recuperation of green areas in accordance with the basin's original natural vegetation. / Geography / D.Litt. et Phil. (Geography)

Ce mémoire de maîtrise se penche sur la place du cinéma analogique à l’ère du « tout-numérique », en particulier dans le domaine du cinéma d’avant-garde. Le premier chapitre se consacre, d’un point de vue historique et théorique, sur «l’air du temps cinématographique», c’est-à-dire, sur le statut de la pellicule dans un contexte où l’on assiste à la disparition du format 35mm, tout aussi bien comme support de diffusion dans les salles de cinéma qu’à l’étape du tournage et de la postproduction. Face à une industrie qui tend à rendre obsolète le travail en pellicule, tout en capitalisant sur l’attrait de celle-ci en la reproduisant par le biais de simulacres numériques, il existe des regroupements de cinéastes qui continuent de défendre l’art cinématographique sur support argentique. Ainsi, le deuxième chapitre relève la pluralité des micros-laboratoires cinématographiques qui offrent des formes de résistance à cette domination du numérique. Nous nous intéresserons également, en amont, aux mouvements des coopératives tels que la Film-Maker’s Cooperative de New York et la London Filmmaker’s Coop afin de comprendre le changement de paradigme qui s’est opéré au sein de l’avant-garde cinématographique entre les années 50 et 70. Les mouvements de coopératives cherchaient avant tout une autonomie créative, tandis que les collectifs contemporains dédiés à la pellicule assurent la pérennité d’une pratique en voie de disparition. Finalement, le troisième chapitre propose une étude de cas sur le collectif de cinéastes montréalais Double Négatif. Ce chapitre relate tout aussi bien l’historique du collectif (fondement du groupe lors de leur passage à l’université Concordia), les spécificités qui émanent de leur filmographie (notamment les multiples collaborations musicales) ainsi que leur dévouement pour la diffusion de films sur support pellicule, depuis bientôt dix ans, au sein de la métropole. À l’image de d’autres regroupements similaires ailleurs sur la planète (Process Reversal, l’Abominable, Filmwerplaats pour ne nommer que ceux-là) le collectif Double Négatif montre des voies à suivre pour assurer que le cinéma sur pellicule puisse se décliner au futur. / This master’s thesis reflects upon the place of analogue cinema in the new digital era of film, particularly within the avant-garde. The first chapter explores from a historical and theoretical point of view the current cinematographic trends, i.e., the status of celluloid in the context of its disappearance, whether it is as a projecting medium or at the production and postproduction stage. Facing an industry which encourages the obsolescence of celluloid (but continues to attempt to reproduce its aesthetic through digital means), there exists filmmaking collectives which continue to defend the use of film in their practice. The second chapter reveals the pluralism of cinematographic micro-laboratories which offer a form of resistance to digital domination. In order to understand the paradigm shift which occured during the 1950s and 1970s within the avant-garde we will also examine the cooperatives movement such as the Film-Maker’s Cooperative in New York and the London Filmmaker’s Coop. The cooperatives movement was above all searching for artistic autonomy, whereas comtemporary collectives dedicated to celluloid tend to ensure the preservation of an endangered practice. The third chapter proposes a case study on the Montreal film-collective Double Negative. This chapter relates the history of the collective (creation of the group during their studies at Concordia University), the specificities of their filmography (particularly their musical collaborations) as well as their devotion to the diffusion and projection of films on celluloid. Like other similar groups (Process Reversal, l’Abominable, Filmwerplaats, to name a few) the Double Negative collective paves the way to ensure the survival of the celluloid medium in cinema.

This thesis develops quantitative indicators of environmental sustainability for Mexico City and its metropolitan zone of influence (MCMZ). These indicators of sustainability were developed by taking into account seven key variables for the urban environment: the water supply situation, air pollution, transportation and roads, energy, solid wastes, the housing supply and green areas. Based on these indicators and the history of the city's physical evolution since it was founded seven centuries ago, a desirable type of urban form is proposed, one in which there is a "decentralized concentration" which would allow Mexico City to approach sustainability in a time frame that concludes in or about the year 2030. Accordingly, the thesis proposes urban policy measures that, while addressing issues of sustainability, permit Mexico City to face the challenges of globalisation, which would entail transforming it into a "global city'' within a worldwide network of great cities. The urban policy and environmental measures that are recommended anticipate the largest economic, demographic and technological changes that will affect Mexico City, but are above all in harmony with the natural ecosystems of the elevated endorheic basin in which it lies. They do no call for a break with or the alteration of the city's natural landscape or its already constructed historical patrimony and, when possible, they presuppose a new sustainable hydraulic model, capable of restoring lakes and recharging the underground aquifer. Finally, a great deal of emphasis is placed on the recuperation of green areas in accordance with the basin's original natural vegetation. / Geography / D.Litt. et Phil. (Geography)

Over the past decade, the success rate of non-violent resistance movements has decreased. With the development of information and communication technology (ICT), governments have taken repression into the digital realm to tamper with protest movements. The effects of repression on protest mobilization have been rather inconclusive; even less is known about the effects of digital repression. By using the political jiu-jitsu, backfire and moral jiu-jitsu theory as well as the theory on emotion and protest participation in hard autocracy, this thesis showcases how the moral shock and indignation helps to overcome fear caused by both traditional and digital repression, thus helping to explain the relationship between repression and mobilization. This theoretical framework is applied to the case of Belarusian post-election protests in 2010 and 2020. Although traditional repression was present in both time frames, there is a significant variation in the government’s digital repression resolve. The analysis shows that mobilization was primarily driven by traditional repression – police brutality and violence. However, in 2020 people were also outraged by censorship and Internet shutdowns that left them in an information vacuum which was deemed completely undeserved. The outrage about digital repression was facilitated by the opposition activities that acted against digital repression.