Submitted by Vasti Diniz (vastijpa@hotmail.com) on 2017-09-20T12:35:28Z No. of bitstreams: 1 arquivototal.pdf: 2449701 bytes, checksum: fcb4338630c4ff04f8405e39407da24d (MD5) / Made available in DSpace on 2017-09-20T12:35:28Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2449701 bytes, checksum: fcb4338630c4ff04f8405e39407da24d (MD5) Previous issue date: 2017-02-24 / This research presents an exploratory and descriptive study on the journalistic coverage of the Rio 2016 Olympic Games conducted by the SporTV channel through the live video broadcast platform Facebook Live via smartphone. The goal is to understand the implications of using live streaming on news production and journalistic practices from concepts such as mobility, mobile journalism, post-industrial journalism and actants. The research is theoretically and methodologically based on the Actor-Network Theory, through the method of Cartography of Controversies, to trace actions of the human and non-human actants present in said coverage and to describe their actions as mediators or intermediaries in the sociotechnical associations that generate the analyzed transmissions. As a result, we observe a reconfiguration in the journalist's role, which is to perform new functions, as well as a greater participation of the public in the construction of narratives, and also the growth of non-human actors such as algorithms, Facebook platforms, smartphones and infrastructure of internet connection networks. / Esta pesquisa apresenta um estudo exploratório e descritivo sobre a cobertura jornalística das Olimpíadas Rio 2016 realizada pelo canal SporTV através da plataforma de transmissão de vídeos ao vivo Facebook Live via smartphone. O objetivo é compreender as implicações do uso do live streaming sobre a produção da notícia e das práticas jornalísticas a partir de conceitos como mobilidade, jornalismo móvel, jornalismo pós-industrial e actantes. A pesquisa fundamenta-se teórica e metodologicamente na Teoria Ator-Rede para, através do método de Cartografia de Controvérsias, rastrear ações dos actantes humanos e não-humanos presentes na referida cobertura e descrever suas atuações como mediadores ou intermediários nas associações sociotécnicas que geram as transmissões analisadas. Como resultados observamos uma reconfiguração na atuação do jornalista, que passa a desempenhar novas funções, bem como uma maior participação do público na construção das narrativas e também o crescimento da atuação de atores não-humanos como algoritmos, plataformas do Facebook, o smartphone e a infraestrutura de redes de conexão de internet.

Music ensembles have made a concerted attempt to reach out through social media platforms to the communities surrounding their concert venues in order to attract young adults to replace aging audiences. By observing opera and symphony orchestra audience members’ social media engagement through Twitter and Facebook Live, this dissertation endeavors to better understand how technology has changed the culture of classical music concert attendance. The music organizations utilizing social media considered for this study include the Los Angeles Opera, San Francisco Opera, and Boston Lyric Opera for Tweet Seats, and the Detroit Symphony Orchestra on Facebook Live. Consideration of live-tweets, Facebook Live concerts and comments, and personal interviews with social media users and music ensemble personnel provides insight to the changing experience of concert attendance. Interviews with online users who are actively participating in Tweet Seats on Twitter and chatrooms on Facebook Live during live-streamed concerts reveal that integrating social media during live performances enhances their sense of community, and their musical and social experiences. Participants indicate that prior classical music experience affects their motivation to participate and engage with other users. For many interviewees, affordability and VIP perks were initial incentives for their online involvement, but the overall experience for these users is complex. Interacting online allowed classical music fans to connect and/or reconnect to the ensembles and their music, and to an existing wired community, while negotiating with changes to the long-standing conventions of classical music culture. These alternative concert-going experiences made possible by social media reconstruct liveness within a digital world, cultivate classical music fandom, and enrich the live listening experience through collective engagement.