Orientador: Marcelo El Khouri Buzato / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-24T15:08:24Z (GMT). No. of bitstreams: 1 Barros_NayaraNataliade_M.pdf: 4553829 bytes, checksum: 2db82890158abe5e58189a69db1cda28 (MD5) Previous issue date: 2014 / Resumo: Esta dissertação tem por objetivo caracterizar a curadoria digital como um novo letramento que aponta para a hibridização empírica entre narrativa e banco de dados na cultura digital, como previsto por Lev Manovich no início dos anos 2000. A base teórica incorpora os conceitos de cultura digital, apropriação tecnológica, hibridismo digital, hipermodalidade, novos letramentos/letramentos digitais, curadoria, gatekeeping/ gatewatching, produsagem e remix. Toma-se como contexto a plataforma de curadoria Storify, serviço que permite que os curadores selecionem e combinem itens de mídia a partir de diferentes mídias sociais. As stories de O Estado de S. Paulo são tomadas como objeto de análise, uma vez que era do interesse do estudo retratar como as práticas de um produtor de conteúdo estabelecido e aquelas de usuários comuns de mídias sociais influenciam o processo de convergência. Um corpus de dez histórias hipermodais do usuário OESP foi elaborado através de um processo de seleção com base em taxas de visualização. As stories foram analisadas em associação com o conteúdo discursivo de uma entrevista semi-estruturada com um dos jornalistas responsáveis por esses textos, à luz de um conjunto de dados secundários (uma revisão da história do jornal Estadão. A análise foi pautada em duas questões de pesquisa: (1) Até que ponto as teorias sobre textos digitais disponíveis na literatura dão conta de descrever o objeto, e que facetas do objeto escampam a cada uma dessas teorias? (2) Dada essa mesma complexidade e a multiplicação de possibilidades práticas, discursivas e semióticas oferecidas pelo objeto, de que maneira o usuário OESP se apropriou do serviço para elaborar suas stories? As ferramentas analíticas empregadas foram tomadas da teoria da Análise do Discurso Mediado por Computador. Os resultados sugerem que as stories constituem um exemplo empírico de hibridismo entre a narrativa como forma cultural dominante da cultura impressa e o banco de dados como uma forma cultural típica da cultura digital, semelhante a mashups agregativos e/ ou remixes regenerativos encontrados em outros contextos de compartilhamento de mídia na internet. O produtor de mídia tradicional se apropriou do Storify por meio de uma prática de curadoria no meio termo entre gatekeeping e gatewatching, que oferece aos usuários de mídias sociais "oportunidades de participar" em "retratos da realidade", reforçando a bem estabelecida relação fornecedor ¿ cliente, entre o jornal e o leitor / Abstract: This dissertation aims to characterize digital curation as a new literacy that points out to the empirical hybridization between narrative and database in digital culture as foreshadowed by Lev Manovich in the early 2000s. The theoretical basis embodies the concepts of digital culture, technological appropriation, digital hybridism, hypermodality, new literacies/ digital literacies, curation, gatekeeping/gatewatching, produsage and remix. The curation platform Storify is taken as a context. It is a service that allows curators to select and combine media items from different social media. O Estado de S. Paulo's stories are taken as the object of analysis since it was in the interest of the study to portray how the practices of an established content producer and those of ordinary social media users would influence the process of convergence. A corpus of ten hypermodal OESP stories was put together through a selection process based on viewing rates. The stories were analysed in association with the discusrsive content of a semi-structured interview with one of the journalists responsible for those texts, in the light of a secondary data (a review of the history of the Estadão journal). The analysis was focused on two research questions: (1) To what extent do the theories on digital text available in the literature can account to describe the object and what aspects of the object are not contemplated by each of those theories? (2) Given such complexity and the multiple practical, discursive and semiotic possibilities offered by the object, in which ways has the user O Estado de S. Paulo appropriated the service to elaborate their stories? The analytical tools employed were taken from Computer Mediated Discourse Analysis theory. The findings suggest that the stories constitute an empirical instance of hybridization between the narrative as dominant cultural form of print culture and the database as a typical cultural form of digital culture akin to aggregative mashups and/or regenerative remixes found in other internet media sharing contexts. The traditional media producer has appropriated Storify by the means of a curator practice in the middle ground between gatekeeping and gatewatching, which offers social media users "opportunities to participate" in "portraits of reality" while reinforcing the well established provider-client relationship between the newspaper and the reader / Mestrado / Linguagem e Sociedade / Mestra em Linguística Aplicada

Orientador: Marcelo El Khouri Buzato / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T03:43:36Z (GMT). No. of bitstreams: 1 Sachs_RafaelSalmazi_M.pdf: 10793959 bytes, checksum: 2d0fd06b73083ec060e8de59058173ea (MD5) Previous issue date: 2015 / Resumo: Esta dissertação teve como objetivo mais amplo gerar inteligibilidades acerca da relação entre a cultura digital e a ação política na contemporaneidade, a partir da articulação, no campo da Linguística Aplicada, entre a noção de linguagem digital como processo e o conceito de política como regime de enunciação, que objetiva traduzir em um os interesses de muitos. Como contexto para o estudo, escolheram-se os eventos das Jornadas de Junho de 2013, caracterizadas tanto pela emergência repentina de massivos protestos de rua no Brasil, quanto pela publicação, em sites de redes sociais, de uma grande quantidade de remixes e mashups contendo enunciados políticos a respeito. Compõem o corpus empírico da pesquisa 88 textos verbovisuais desse tipo, publicados no Facebook entre junho e julho de 2013. Entendidos como frutos de percursos de desmontagem e remontagem, e, portanto, de desressemiotização, esses textos foram analisados com base na articulação (proposta como objetivo teórico do trabalho) entre as categorias da Semiótica Social para a multimodalidade e as da Teoria Ator-Rede para translações. Como objetivo empírico, buscou-se descrever os significados representacionais e os percursos de constituição das montagens do corpus, em relação ao regime de enunciação da política. As perguntas de pesquisa foram duas, a saber: (1) quais foram os principais actantes mobilizados nos remixes estudados, e em que tipo de processos semióticos tais actantes apareceram com maior frequência?; e (2) quais foram algumas das operações de ressemiotização empregadas nas desreestabilizações sucessivas das diferentes versões de Brasil e realidade brasileira constituídas nesses textos? Os resultados elencaram as figurativizações mais comuns e os processos representacionais mais frequentes no corpus, em que os manifestantes, a nação brasileira, os políticos e a grande mídia foram os principais actantes representados, em geral, através de processos atributivos simbólicos. Destacou-se, nesse levantamento, a figura do gigante de pedra se levantando no Rio de Janeiro, empregada por muitos como representação unificada do Brasil e dos interesses múltiplos em atuação nas Jornadas. A partir dessa figura, descreveram-se ainda os processos de negociação de affordances para constituição de alguns dos textos analisados, e sua relação com as disputas pelo significado dos acontecimentos das Jornadas de Junho, e pela definição que era "ser brasileiro" no momento dos protestos. Como conclusão, os dados refletem a necessidade de buscar caminhos para compreensões menos deterministas da relação entre política, tecnologias digitais e sociedade, e modos de formação cidadã, no âmbito das mídias digitais, que viabilizem a compreensão de enunciados políticos como fruto de enredamentos semióticos sempre articulados em disputas de interesse, mesmo quando se pretendem neutros / Abstract: The main goal of the present study is to suggest ways of understanding the relation between digital culture and contemporary political action, based on the connection, drawn in the field of Applied Linguistics, between the notion of digital language as process and the concept of politics as a regime of enunciation which aims to translate the interests of many into one. The events of the June Journeys in 2013 were taken as context for the study, since they included not only the sudden emergence of massive protests on Brazilian streets, but also the publishing, on social network sites, of large amounts of remixes and mashups containing political statements on that regard. Seen as the outcomes of disassembling and assembling trajectories, and therefore, of deresemiotization trajectories, those texts were analyzed in the light of an articulation (also presented as a theoretical objective of this work) between Social Semiotics studies on multimodality and Actor-Network Theory principles for the understanding of translations. As empirical objectives, this work aimed to describe the representational meanings and the assembling trajectories of the texts in the corpus, in relation to the political regime of enunciation. The research questions were two: (1) what were the main actants mobilized in the remixes in the corpus, and in which kind of semiotic processes those actants appeared more often?; and (2) what were some of the resemiotization operations used for the continuous derestabilizations of different versions of Brazil and Brazilian reality represented in those texts? Results enroll the most frequent figurativizations and the most usual representational processes in the corpus, in which the demonstrators, Brazilian nation, politicians and mass media were the main actants, and were depicted, in general, through symbolic attributive processes. In that enrollment, the image of a stone giant rising in Rio de Janeiro was prominent, for it was used by many as a unified depiction of Brazil as a whole and of the multiple interests acting during the Journeys. From that picture, the results described the processes of negotiation of affordances for the composition of some of the analyzed texts, and their relation to the disputes for the meaning of the June Journeys events, and for what meant "to be Brazilian" then. As a conclusion, data reflects the need of pursuing less determinist ways of understanding the relation among politics, digital technologies and society, as well as the need for ways of citizenship education, regarding digital media, that address the understanding of political statements as outcomes of semiotic entanglements which are always connected to interests in dispute, even when allegedly neutral / Mestrado / Linguagem e Sociedade / Mestre em Linguística Aplicada

Thesis (M.A.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 82-87).

Thesis (Ph.D)--Computing, Georgia Institute of Technology, 2009. / Committee Chair: Stasko, John T.; Committee Member: Edwards, Keith; Committee Member: Greenberg, Saul; Committee Member: Grinter, Beki; Committee Member: Guzdial, Mark. Part of the SMARTech Electronic Thesis and Dissertation Collection.

Made available in DSpace on 2016-04-29T14:23:48Z (GMT). No. of bitstreams: 1 Randolph Aparecido de Souza.pdf: 2953752 bytes, checksum: 949dcc91b6de02061dbf28192a5d8e57 (MD5) Previous issue date: 2009-03-24 / This research discusses the mashup practice, particularly the one of web applications, while own aesthetics, that translates a contemporary sensibility, reflex of the remix culture of which emerges. Copy, cut or paste are now intrinsic actions to the daily of the cyberspace, where the recombination of information is evidenced as usual practice. In this context, how to identify and relate the mashup aesthetics? Such scenery incites the further study concerning mashups, in search to trace a descending and contemporary overview by means of investigation and identification of its origin, structure and practical in the digital medium. To debate these issues was accomplished a historical redemption, in order to present the concepts and artistic movements precursors relative to its essence. The mashup comprehension advances in scope of the remix sphere. The issues referring to collaboration, interaction and authorship, as well as the conceptualization of the practical, based on the malleability of the binary code and the transposition between a medium to another one; will be sustained from the studies of Lev Manovich and Eduardo Navas. Thus, the analysis of the structure and functioning of mashups applications in the digital medium, demarcated by means of the considerations from Duane Merrill, consists in better assimilation to these reflections, since specifies the technological characteristics that define them. In intention to reorganize the several mashups models found in the net, it makes mapping inspired on Merrill s classification, however, propose own categories; supported in case studies made through the analysis of web sites that use the technique. With effect, it verifies that the mashup process former, based on combination of one or more sources for formation of something new, is the same adopted in different periods, in other words, is not entirely innovative; varies only the form of employment applied, in the relationship of the predecessors concepts to the technology and emerging medias. Finally, it emphasizes the importance of the proposed classification for mashups mapping in the revelation of organic categories, that allow thus to illustrate the fluid movements of associations and inter-relationships characteristic of its organization, in an accurate portrait of the universe of unlimited possibilities of imbrication in which they inhabit / Esta pesquisa discute a prática mashup, particularmente a de aplicativos web, enquanto estética própria, que traduz uma sensibilidade contemporânea, reflexo da cultura remix da qual emerge. Copiar, cortar ou colar agora são ações intrínsecas ao cotidiano do ciberespaço, em que a recombinação da informação evidencia-se como prática usual. Nesse contexto, como identificar e relacionar a estética do mashup? Tal cenário incita a um estudo mais aprofundado acerca dos mashups, em busca de traçar um panorama descendente e contemporâneo mediante investigação e identificação de sua origem, estrutura e prática no meio digital. Para debater estas questões foi realizado um resgate histórico, a fim de apresentar os conceitos e movimentos artísticos precursores relativos à sua essência. A compreensão de mashup avança no âmbito da esfera remix. As questões referentes à colaboração, interação e autoria, assim como a conceitualização da prática, fundamentada na maleabilidade do código binário e da transposição entre um meio a outro; sustentam-se a partir dos estudos de Lev Manovich e Eduardo Navas. Desse modo, a análise da estrutura e funcionamento dos mashups de aplicativos no meio digital, demarcada por meio das considerações de Duane Merril, consiste em melhor assimilação a estas reflexões, visto que especifica as características tecnológicas que os definem. No intuito de reorganizar os vários modelos de mashups encontrados na rede, efetua-se mapeamento inspirado na classificação de Merril, entretanto, propõem-se categorias próprias; amparadas em estudos de casos efetuados através da análise de web sites que se utilizam da técnica. Com efeito, constata-se que o processo formador do mashup, baseado na combinação de uma ou mais fontes para formação de algo novo, é o mesmo adotado nos diferentes períodos, ou seja, não é totalmente inovador; varia-se apenas a forma de emprego aplicada, no relacionamento dos conceitos antecessores à tecnologia e mídias emergentes. Por fim, ressalta-se a importância da classificação proposta para o mapeamento dos mashups na revelação de categorias orgânicas , que permitem assim ilustrar os movimentos fluidos de associações e inter-relações característicos de sua organização, num retrato acurado do universo de possibilidades ilimitadas de imbricamentos em que habitam

The Internet has been lauded as an open and free platform from which one is able to engage with, and share large amounts of information (Stallman, 1997). As one witnesses the shift from analogue media to digitalism, so too is it possible to note a change in cultural practices of media consumers. Users of the media can now be viewed as “prosumers”, producing as well as consuming media products (Marshall, 2004). Digital media users have been given the ability to engineer their own unique media experiences, especially within the realms of the Internet. However, this process has seemingly led to mass copyright infringement as Internet users appropriate various movies, music, television programmes, photographs and animations in order to create such an experience. The art of digital mashing in particular, has been deemed an explicit exploitation of intellectual property rights as it re-cuts, re-mixes and re-broadcasts popular media in a number of alternative ways. YouTube especially has been at the forefront of the copyright furore surrounding digital mash-ups because it allows online users the facility to post and share these video clips freely with other online users. While YouTube claims that they do not promote the illegal use of copyrighted material, they simultaneously acknowledge that they do not actively patrol that which is posted on their website. As such, copyright infringement appears seemingly rife as users share their own versions of popular media through the art of digital mashing. This dissertation however, explores the concept that the creation of mash-ups is not undermining intellectual property rights, but instead produces a new avenue from which culture can emerge. It highlights how Internet users are utilising the culture which surrounds them in an attempt to navigate the new social structures of the online, subsequently arguing that mash-ups are an important element of defining a new postmodern culture, and that the traditional copyright laws of analogue need to be modified in order to secure the development of new and emerging societal structures. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.

Increasingly abundant access to data and cheaper display technology costs are creating an exciting opportunity to create new information awareness tools that can present information calmly through peripheral and ambient interfaces. These tools offer the potential to help people better manage their attention and to avoid information overload. Different people, however, have distinct information needs, and customizing these systems is often difficult. Existing interfaces typically provide too coarse or too fine a granularity of customization, resulting in tools that are too rigid or too difficult to configure. We present an extensively customizable information awareness system, The Buzz, that supports end users, tinkerers, and developers at using, modifying, creating, and sharing powerful and flexible customizations. These customizations are powerful in the sense that the user can control abstract behaviors of the system, and flexible in the sense that the complexity of the customization can vary with the power needed to express it. We further chart the broader information awareness customization space through the lens of existing customizable information tools. Through this analysis, we show that this system provides more extensive customization capabilities than other customizable awareness applications, without requiring significant programming.