Mémoire en recherche-création. / Ce mémoire de recherche-création contient deux parties : un essai écrit, « Failure may be your style » et un long-métrage documentaire, Loin. Le documentaire à la première personne est un genre qui peut s’élargir à la vidéo en général, car les deux manifestent une subjectivité et ressemblent à la forme de l’essai par leurs aspects fragmentaires et incohérents. L’échec, ou le ratage, est un élément essentiel de cette branche du cinéma, car il permet d’émouvoir et de montrer ce qui aurait pu être jeté, ce qui se situe normalement hors-champs et hors-cinéma, ce qui crée des formes de punctum cinématographiques. L’autobiographie et l’autoethnographie peuvent alors se mélanger à la fiction et à la recherche universitaire au sein de ce cinéma au sens large. Ces démarches peuvent être vue comme faisant partie d’une anti-esthétique queer. Loin est un film documentaire à la première personne tourné et monté par l’autrice du texte. Il pourrait appartenir à cette esthétique queer du ratage et de l’échec. La réalisatrice s’entretient avec sa grand-mère française sur le passé, tout en montrant des fragments de sa vie quotidienne à Montréal. / This research-creation masters thesis contains two parts : a written essay, « Failure may be your style » and a feature-length documentary film, Loin. First person documentary is a genre that can be extended to video in general, because both express subjectivity and resemble the essayistic form due to their fragmentariness and incoherences. Failure is an essential element of this film category, because it can move the spectator by showing what could have been thrown away, what would have normally been situated off-camera and off-cinema, which can constitute forms of cinematographic punctum. Autobiography and autoethnography can combine with fiction and academic research in this vision of enlarged cinema. These approaches can be considered as part of a queer anti-aesthetic. Loin is a first-person documentary shot and edited by the author of the text. It could be inscribed in this queer aesthetic of failure. The director interviews her French grand-mother about the past while depicting fragments of her daily life in Montréal.

No description available.

Self-image and the way we present ourselves to the world are highly relevant in today’s society, fostered to some extent by the ubiquitous use of technology. For example, the idealized body image that is disseminated in the media and on social networks can affect the relationship we have with ourselves. Beyond the idyllic images promoted by external agents, there is a personal aspect that also defines who we are and how we relate to our environment; that is self-fashioning, a constant self-driven, ameliorative change in accordance to the ideals promoted by somaesthetics. In line with this approach, our bodies could be understood as spaces for self-design to increase somaesthetic appreciation, both of ourselves and the world. This thesis discusses some early considerations for the development of self-fashioning technologies and the exploration of the design space. By conducting a soma-oriented workshop and a subsequent first-person exploration, I introduce a set of design features that might be addressed when devising embodied artifacts. They highlight the importance of "constant becoming," a situated ongoing process that shapes us, arguing that technologies for self-fashioning should support it. / Självbilden och hur vi presenterar oss för världen är högst relevanta i dagens samhälle, delvis underblåst av den allestädes närvarande användningen av teknik. Till exempel kan den idealiserade kroppsbild som sprids i medierna och på sociala nätverk påverka relationen vi har till oss själva. Utöver de idylliska bilder som främjas av externa agenter finns det en personlig aspekt som också definierar vilka vi är och hur vi förhåller oss till vår miljö; det vill säga self-fashioning, en konstant självdriven och förbättrande förändring i enlighet med de ideal som främjas av somaestetiken. I linje med detta synsätt kan våra kroppar förstås som utrymmen för självutformning för att öka somaestetisk uppskattning, både av oss själva och av världen. Denna uppsats diskuterar några tidiga överväganden för utformningen av self-fashioning teknologier och utforskningen av designutrymmet. Genom en soma-orienterad workshop och en efterföljande förstapersonsutforskning presenterar jag en uppsättning designfunktioner som kan hanteras när man designar inbäddade artefakter. De betonar vikten av "constantly becoming", en situerad pågående process som formar oss, och argumenterar för att teknologier för self-fashioning bör stödja det.

Studiens övergripande syfte är att undersöka om det finns ett samband mellan olika bruk av förstapersonspronomen i tre olika ämneskategorier av studenters c-uppsatser och refereegranskade artiklar och, i så fall, hur sambandet ser ut. Därtill vill denna studie undersöka om detta samband kan bero på följande faktorer: skribenters erfarenhet, skilda skrivkonventioner och skilda skrivpraxis i olika textdelar (d.v.s. inledning, forskningsbakgrund, metod osv). Förutom att jämföra andelen förstapersonspronomen kommer denna studie också att undersökas författaridentitet med utgångspunkt i Tang och Johns (1999) modell. Resultaten visar att i akademiskt skrivande förekommer förstapersonspronomen olika ofta i olika ämneskategorier av c-uppsatser och refereegranskade artiklar, vilket troligen beror på olika skrivkonventioner inom olika ämnen. Generellt förekommer förstapersonspronomen mest i två textdelar av den examinerade korpusen: inledning samt diskussion och avslutning. Detta indikerar att på grund av olika skrivpraxis, tillåts författare vara mer eller mindre närvarande i olika textdelar. Slutligen visar denna studie att den representativa identiteten är den mest frekventa i alla ämneskategorier av både c-uppsatser samt refereegranskade artiklar. / The aim of this study is to investigate whether there is a connection between different uses of first-person pronouns in three different subject categories of students’ c-theses and peer-reviewed articles and, in that case, how this connection looks like. Also, if this connection may depend on the following factors: writers' experience, different writing conventions, different writing practices in different parts of text (i.e., introduction, research background, method etc.). In addition, this study aims to investigate the authorial identity based on Tang and John's (1999) model. The results show that, in academic writing, first-person pronouns occur differently in diverse subject categories of c-thesis and peer-reviewed articles, which is probably due to dissimilar writing conventions within different subjects. Generally, first-person pronouns occur mostly in two parts of text in the examined corpus: introduction and also discussion and conclusion. This pinpoints that, due to diverse writing practices, authors are allowed to be more or less present in different parts of text. To conclude, this study shows that the representative authorial identity is the most frequent in all subject categories of both c-theses and peer-reviewed articles.

In this study, a video game prototype was developed to research the impacts of diegetic and non-diegetic interfaces on two facets of player experience in the context of video games, game difficulty and immersion. A total of 10 participants took part in a play session where they played the prototype, which was followed by semi-structured interviews where the participants discussed their perceived player experience. The transcribed interviews were then analyzed using a thematic analysis approach to find recurring patterns in relation to perceived difficulty and immersion. The findings of this study showed that diegetic interfaces were perceived as more difficult but more immersive in general, while the opposite was true for non-diegetic interfaces. / I den här studien utvecklades en spelprototyp för att undersöka effekterna av diegetiska och icke-diegetiska gränssnitt på två aspekter av spelupplevelse i samband med videospel, spelsvårighetsgrad och fördjupning. Totalt deltog 10 deltagare i en spelsession där prototypen spelades, vilket följdes av semistrukturerade intervjuer där deltagarna diskuterade sin spelupplevelse. De transkriberade intervjuerna analyserades sedan med en tematisk analysmetod för att hitta återkommande mönster i relation till deltagarnas upplevd svårighetsgrad och fördjupning. Resultaten av denna studie visade att diegetiska gränssnitt upplevdes som svårare men mer fördjupande i allmänhet, medan motsatsen gällde för icke-diegetiska gränssnitt.

First-person shooter (FPS) games are frequently associated with immersion due to their use of a first-person perspective camera, which gives players the impression that they are a part of the game world. When combined with the proteus effect and identification, players can achieve a complete sense of immersion in the character they are portraying. The objective of this study is to delve into the cognitive benefits of engaging in FPS games and to establish a correlation between the level of immersion and cognitive transfer. The data collected from participants who completed reaction tasks were analyzed in conjunction with the IEQ (Immersive experience questionnaire) scores. The IEQ provided quantitative data on immersion. By assessing the participants' cognitive abilities based on their reaction task performance, the study found that playing FPS games can improve accuracy but not affect reaction time. Furthermore, the study found no correlation between immersion and cognitive transfer.

No description available.

Based on previous research on spatial attributes in foley and the concept that auditory immersion in first-person perspective computer games is enhanced by believable sound effects, this study explores if there is a connection between stereo foley and the believability of the first-person perspective, and regardless, if there is a preference to either mono or stereo foley. An interactive listening test was created in unreal engine 4, where 20 subjects, all considered gamers, played three levels that differed visually and in auditory content. In these levels, subjects auditioned two versions of avatar-related foley sounds. One version was mono, the other stereo. The test prompted the subjects to complete two tasks for each level, whereupon the foley version changed upon completion of the first task. The subjects then answered questions in between each level, regarding the foley version. They were asked to rate believability and choose a preference, as well as provide motivations for their choices. The quantitative data showed next no evidence that either mono or stereo was generally perceived as more believable or preferred. However, the qualitative data indicates that the majority of players tend to prefer and rate stereo foley as more believable in certain game environments. Furthermore, the data indicates that some subjects prefer a sensory replication of reality in foley. It is also shown that preference for stereo width vary between subjects and therefore argued that there cannot be a perfect standardized setting for stereo foley.

No description available.

Summaries in Afrikaans and English / Die term deiksis is afgelei van die Griekse woord deiktikos wat 'wys na' betaken, en verwys na daardie uitdrukkings wat in 'n taal gebruik word om die belangrikste orientasiepunte in 'n gespreksituasie te verwoord. Aile deiktiese interpretasies kan net relatief tot 'n spesifieke verwysingspunt (deiktiese sentrum) gemaak word. Vyf deiktiese kategoriee word onderskei. Persoonsdeiksis hou verband met die deiktiese persona, m.a.w. die spreker en aangesprokeneen moontlik 'n derde persoon indian hy/sy/dit in die gespreksituasie teenwoordig is. Persoonsdeiksis word hoofsaaklik in Noord-Sotho se kongruensie-en pronominale sisteem gereflekteer. Sosiale deiksis verwys na daardie uitdrukkings wat die spreker se houding teenoor die aangesprokene of die derde persoon weergee. In Noord-Sotho word leksikale items met 'n sosiaal--deiktiese funksie aangetrefwat die spreker se bewondering, afkeer of respek teenoor die aangesprokene reflekteer, asook verwantskapstenne en aanspreekvonne. Alhoewel Noord-Sotho se pro nominate stelsel neutraal is ten opsigte van geslag, is daar ander maniere om taalkundig 'n onderskeid tussen die geslagte te maak. Plekdeiktiese uitdrukkings word gebruik om die Jigging van 'n objek relatief tot die deiktiese sentrum te beskryf. Die posisie van die gespreksgenote of hulle fisiese gestaltes kan hierdie deiktiese sentrum uitmaak. In Noord-Sothoword demonstratiewe, demonstratief-kopulatiewe, lokatiewe kopulatiewe,lokatiewe bywoorde en sekere werkwoorde vir hierdie doe I aangewend. Tyddeiksis word in Noord-Sotho hoofsaaklik deur middel van temporale bywoorde geleksikaliseer en deur middel van tydsvonne in die werkwoord gegrammatikaliseer. Die interpretasie van hierdie uitdrukkings is van die deiktiese sentrum (tyd wanneer die uiting gemaak is) afhanklik. Temporale bywoorde sowel as die tydsvonn van die werkwoord beskryf die tyd wanneer die handeling plaasvind. Hierdie vonne sal aandui of die handeling v66r koderingstyd plaasgevind het (verlede tyd), of dit na koderingstyd sal plaasvind (toe~omende tyd), en of die handeling met koderingstyd saamval (teenwoordige tyd). Diskoersdeiksis verwys na daardie uitdrukkings wat gebruik word om na dele van die diskoers, of na naamwoordelike antesedente waarvoor daar nie 'n referent in die buitetaalse werklikheid bestaan nie, te verwys. In Noord-Sothoword demonstratiewe, pronomina van die derde persoon, demonstratief-kopulatiewe, sekere bywoorde, identifiserende kopulatiewe, sekere kwalifikatiewe en sekere voegwoorde vir hierdie doel aangewend. / The term deixis is derived from a Greek word deiktikos which means 'point at' and it is used in grammar to refer to those expressions which describe the essential points of orientation in a speech situation. The interpretation of deictic expressions can only be made in relation to a specific reference point (the deictic centre). Five deictic categories are distinguished. Person deixis concerns the deictic persons, that is the speaker, the addressee and possibly a third person if he/she/it is present in the speech situation. Person deixis is mainly reflected in the concordia! and the pronominal system of Northern Sotho. Social deixis refers to those expressions which reflect the speaker's attitude towards the addressee or the third person. Such expressions include lexical items which reflect the speaker's admiration, dislike or respect towards the addressee, as well as kinship terms and vocatives. Although the pronominal system of Northern Sotho is neutral with regard to sex, there are other linguistic ways in which gender distinctions can be drawn. Place deictic expressions are used to identify the location of an object relative to the deictic centre. The location of the speech participants or their bodies may constitute this deictic centre. Demonstratives, demonstrative-copulatives, locational copulatives, locative adverbs and certain verbs are used for this purpose in Northern Sotho. Time deixis is mainly lexicalised by means of temporal adverbs and grammaticalised by means of tense morphemes in the Northern Sotho verb. The interpretation of these expressions depends on the deictic centre (time when the utterance is made). Time adverbs as well as the tenses describe the time of an event. These structures will indicate whether the action took place before coding time (past tense), whether it will take place after coding time (future tense), or whether it coincides with coding time (present tense). Discourse deixis pertains to those expressions which are used to refer to parts of the discourse, or to nominal antecedents of which the referent is not present in the extra-linguistic context of the utterance. Demonstratives, demonstrative copulatives, third person pronouns, certain adverbs, identifying copulatives, certain qualificatives and certain conjunctions are used for this purpose in Northern Sotho. / African Languages / D Litt. et Phil. (Afrikatale)