Digital art installation is the result of informatic materials entering gallery spaces and challenging the establishment of media forms. This thesis contends that the open, recursive and recombinatory process of looking at digital installation is in fact the result of noisy relations between information and the spatial temporal contexts of the art gallery. In order to focus on the processes of informatic materials within gallery spaces, this thesis identifies four key modulations of noise and materiality ? emergence, feedback, entropy and delay. I demonstrate how these impact on a range of recent digital installations by Australian and New Zealand artists. The lens of digital materiality shifts from an informational context into that of art history where it is found to highlight the systemic relationality of the installation. The thesis opens with a consideration of histories of media-specificity, and argues for a necessary separation of our concepts of media and materiality. This context provides a set of tools by which the remainder of the thesis investigates a range of digital material flows that are not tied to fixed media definitions. I draw on a range of theorists including Umberto Eco, Gilles Deleuze, Claude Shannon and Jack Burnham to further locate these material flows within two strands: experimental sound and information theory. This discussion forms the basis of the thesis? re-appraisal of media distinctions and highlights the complex relationship of informational materials to both sonic and visual histories. The second half of the thesis undertakes an appraisal of emergence, feedback, entropy and delay in specific works and suggests dimensionality, movement and duration as key determinants of the digital installation. These chapters demonstrate that what is at stake in digital installation is the viewer?s implicit role in the shifting relationships of digital materiality. Overall, this thesis presents a framework for emergent materiality in digital installation. I develop a theory of emergent materiality as a process specific to digital installation, and argue that digital installation is in fact a subject-forming assemblage of information-noise in which relations of dimensionality, movement and duration coalesce without cohering. And, within which gallery spaces begin to get noisy.

Digital art installation is the result of informatic materials entering gallery spaces and challenging the establishment of media forms. This thesis contends that the open, recursive and recombinatory process of looking at digital installation is in fact the result of noisy relations between information and the spatial temporal contexts of the art gallery. In order to focus on the processes of informatic materials within gallery spaces, this thesis identifies four key modulations of noise and materiality ? emergence, feedback, entropy and delay. I demonstrate how these impact on a range of recent digital installations by Australian and New Zealand artists. The lens of digital materiality shifts from an informational context into that of art history where it is found to highlight the systemic relationality of the installation. The thesis opens with a consideration of histories of media-specificity, and argues for a necessary separation of our concepts of media and materiality. This context provides a set of tools by which the remainder of the thesis investigates a range of digital material flows that are not tied to fixed media definitions. I draw on a range of theorists including Umberto Eco, Gilles Deleuze, Claude Shannon and Jack Burnham to further locate these material flows within two strands: experimental sound and information theory. This discussion forms the basis of the thesis? re-appraisal of media distinctions and highlights the complex relationship of informational materials to both sonic and visual histories. The second half of the thesis undertakes an appraisal of emergence, feedback, entropy and delay in specific works and suggests dimensionality, movement and duration as key determinants of the digital installation. These chapters demonstrate that what is at stake in digital installation is the viewer?s implicit role in the shifting relationships of digital materiality. Overall, this thesis presents a framework for emergent materiality in digital installation. I develop a theory of emergent materiality as a process specific to digital installation, and argue that digital installation is in fact a subject-forming assemblage of information-noise in which relations of dimensionality, movement and duration coalesce without cohering. And, within which gallery spaces begin to get noisy.

Digital art installation is the result of informatic materials entering gallery spaces and challenging the establishment of media forms. This thesis contends that the open, recursive and recombinatory process of looking at digital installation is in fact the result of noisy relations between information and the spatial temporal contexts of the art gallery. In order to focus on the processes of informatic materials within gallery spaces, this thesis identifies four key modulations of noise and materiality ? emergence, feedback, entropy and delay. I demonstrate how these impact on a range of recent digital installations by Australian and New Zealand artists. The lens of digital materiality shifts from an informational context into that of art history where it is found to highlight the systemic relationality of the installation. The thesis opens with a consideration of histories of media-specificity, and argues for a necessary separation of our concepts of media and materiality. This context provides a set of tools by which the remainder of the thesis investigates a range of digital material flows that are not tied to fixed media definitions. I draw on a range of theorists including Umberto Eco, Gilles Deleuze, Claude Shannon and Jack Burnham to further locate these material flows within two strands: experimental sound and information theory. This discussion forms the basis of the thesis? re-appraisal of media distinctions and highlights the complex relationship of informational materials to both sonic and visual histories. The second half of the thesis undertakes an appraisal of emergence, feedback, entropy and delay in specific works and suggests dimensionality, movement and duration as key determinants of the digital installation. These chapters demonstrate that what is at stake in digital installation is the viewer?s implicit role in the shifting relationships of digital materiality. Overall, this thesis presents a framework for emergent materiality in digital installation. I develop a theory of emergent materiality as a process specific to digital installation, and argue that digital installation is in fact a subject-forming assemblage of information-noise in which relations of dimensionality, movement and duration coalesce without cohering. And, within which gallery spaces begin to get noisy.

Digital art installation is the result of informatic materials entering gallery spaces and challenging the establishment of media forms. This thesis contends that the open, recursive and recombinatory process of looking at digital installation is in fact the result of noisy relations between information and the spatial temporal contexts of the art gallery. In order to focus on the processes of informatic materials within gallery spaces, this thesis identifies four key modulations of noise and materiality ? emergence, feedback, entropy and delay. I demonstrate how these impact on a range of recent digital installations by Australian and New Zealand artists. The lens of digital materiality shifts from an informational context into that of art history where it is found to highlight the systemic relationality of the installation. The thesis opens with a consideration of histories of media-specificity, and argues for a necessary separation of our concepts of media and materiality. This context provides a set of tools by which the remainder of the thesis investigates a range of digital material flows that are not tied to fixed media definitions. I draw on a range of theorists including Umberto Eco, Gilles Deleuze, Claude Shannon and Jack Burnham to further locate these material flows within two strands: experimental sound and information theory. This discussion forms the basis of the thesis? re-appraisal of media distinctions and highlights the complex relationship of informational materials to both sonic and visual histories. The second half of the thesis undertakes an appraisal of emergence, feedback, entropy and delay in specific works and suggests dimensionality, movement and duration as key determinants of the digital installation. These chapters demonstrate that what is at stake in digital installation is the viewer?s implicit role in the shifting relationships of digital materiality. Overall, this thesis presents a framework for emergent materiality in digital installation. I develop a theory of emergent materiality as a process specific to digital installation, and argue that digital installation is in fact a subject-forming assemblage of information-noise in which relations of dimensionality, movement and duration coalesce without cohering. And, within which gallery spaces begin to get noisy.

This paper examines the ‘robotic moment’, as defined by Sherry Turkle (2011), in the light of general theories of human-technology relations, notably the theoretical framework founded by Jacques Ellul (1954). Potential psychological, cultural, and technical consequences of human-technology interaction, especially human interaction with so-called ‘social-robots’, are explored. It is demonstrated that the ‘robotic moment’ may reasonably be understood as a result of the formation of pseudo-social anthropo-technological circuits, and as a result of cultural disintegration and an increasingly prevalent societal impulse to incorporate everything that is commonly not understood to be technological (i.e. even the biological, the social, and the spiritual) into the technological order. It is demonstrated that the category ‘social robot’ may reasonably be understood, depending on how the robot is used, as a technique humaine, as a magical practice, or as a complex hybrid practice. Assumptions concerning the nature of technologies, the extent to which technologies are useful, and the impact of technologies on society are questioned. The extent to which a society’s worldview may determine or influence how its inhabitants relate to technologies is explored. It is suggested that, as societies demystify the universe and develop mature techno-secular worldviews, means-to-ends (i.e. technologies) are being mystified; the ensuing quasi-religious techno-secular worldviews, which fail to recognise the limitations of technologies, may in turn be responsible for much of the irrational use of technologies in technological societies. The essay suggests that the ‘robotic moment’ can be explained not only in terms of vulnerabilities inherent in human nature and in terms of properties inherent in technological society, but also in terms of the notions of the sacred that prevail in technically advanced societies and a society’s practice of science, engineering, magic, and faith.

In Sweden, the subject of history has become more comprehensive and diverse in recent decades. Parallel to this development, a new media landscape has been established, both in society at large and in school. Today there is a wide variety of teaching materials available, such as documentaries, news media, digitalized source material, music, computer games, encyclopedias, popular scientific articles, etc. This raises questions about which types of media history teachers use to teach their subject. The aim of this study is to analyze how teachers approach and relate to the qualities and usability of different media for teaching and learning history in upper secondary school. Semi-structured interviews are used to obtain detailed accounts of how teachers view their media use. Methodologically, the study examines teaching materials in a practice-oriented research tradition, focusing on the perceptions and uses of various media. Media ecology and sociocultural theory serve as the theoretical basis of the study. In brief, these theoretical perspectives claim that media should not be seen as neutral and value-free channels for conveying information, because intermediary media can both form and affect the learning that comes through the use of a certain medium. The concept of affordance is used in order to highlight and analyze how teachers view the effects that various types of media might have on how students understand history. This study shows that history teaching in upper secondary school is conducted in a media-rich environment. Based on the categorizations used, the eleven teachers who participated in this study report that they use a total of eighteen different types of media, and this complements and nuances the image of history teaching as a textbook-driven activity. This study also shows diversity in the teachers’ media repertoires. To explain this variation and to show the considerations underlying teachers’ media use, the term mediation strategies is used. The use of this concept shows that teachers’ perceptions of the usability of various media depend on how they perceive the qualities of these various media, as well as how the teachers relate both to the subject of history and to the pupils. Based on previous research and the results of the present study, it is concluded that it is advisable to advocate an extensive and varied media use when teaching history. Furthermore, it is highlighted that there is a need for a thorough discussion regarding which types of media should be part of history teachers’ media repertoires and what kind of mediation competence history teachers require today.

This thesis is part of the Media and Communicative Strategies research line of the UFSM Graduate Program in Communication. The research problem can be summarized by the following question: how the media ecology observed in web 1.0 to web 3.0 practices provides changes in advertising institutional portals? The proposed hypothesis is that the digital environment is enabling changes in advertising concerning various aspects, from the formats used until the levels of interactivity applied to advertisements, as well as the Advertising’s modus operandi, causing re-accommodations of ads (or sites) to different media. The general objective is to analyze the change of advertisements in institutional sites in the scenario of the new media ecology. The specific objectives are to map the evolution of advertising formats; classify institutional portals of the brands selected into four main stages: transposition of traditional media to online support; trying to create for the digital environment; interactivity with users; and implementation of web ambience for mobile ambience; observe the changes in the portals from the generic form as the contents are placed, the practices and the type of advertising used in every moment; check if the homepage has the ability to interact with the user or not, and how this happens based on the types of interactivity proposed by McMillan (2002); list the formats of advertising as presented to the user, according to Sebastian classification (2011) and DoubleClick (2016e); observe the interactivity of theads ads and the devices present in this practice; describe the evolution of digital advertising in terms of interactivity highlighting the interactional devices communicational phenomenon applied to digital advertising; and develop a mapping matrix for advertising on the web. The mapping is used as a methodological strategy; it allows follow the landscape of transformation movements confirming that advertising is building its space in the digital ambience. The results showed evident changes in advertising formats and one of the important aspects is the space devoted to ads, which increased considerably over the years, a fact that reveals a greater adherence of advertisers to advertising broadcast on the web. / Esta tese insere-se na linha de Pesquisa denominada Mídia e Estratégias Comunicacionais do Programa de Pós-graduação em Comunicação pertencente à UFSM. A problemática de pesquisa pode ser resumida na seguinte questão: como a ecologia midiática observada nas práticas da web 1.0 a web 3.0 propicia alterações nos anúncios publicitários de portais institucionais? A hipótese proposta é que o ambiente digital está possibilitando mudanças nos anúncios publicitários concernentes a vários aspectos, desde os formatos utilizados, até os níveis de interatividade aplicados às peças publicitárias, bem como no modus operandi da Publicidade e Propaganda, ocasionando reacomodações dos anúncios publicitários (ou dos sites) às diferentes mídias. O objetivo geral é analisar as mudanças dos anúncios publicitários em sites institucionais no cenário da nova ecologia midiática. Os objetivos específicos são mapear a evolução dos formatos de anúncios publicitários; classificar os portais institucionais das marcas selecionadas em quatro momentos principais: transposição dos meios tradicionais para o suporte online; tentativa de criar para o meio digital; interatividade com os usuários; e transposição da ambiência web para a ambiência mobile; observar as mudanças nos portais a partir da forma genérica como os conteúdos são colocados, das práticas e do tipo de publicidade utilizado em cada momento; verificar se a homepage tem a capacidade de interagir com o usuário ou não e como isso acontece com base nos tipos de interatividade propostos por McMillan (2002); listar os formatos dos anúncios publicitários conforme apresentados ao utilizador, seguindo a classificação de Sebastião (2011) e DoubleClick (2016); observar a interatividade proporcionada pelos anúncios e os dispositivos presentes nessa prática; descrever a evolução de anúncios digitais em termos de interatividade destacando os dispositivos interacionais do fenômeno comunicacional aplicados à publicidade digital; e elaborar uma matriz cartográfica para a publicidade na web. A cartografia é utilizada como estratégia metodológica, pois permite acompanhar os movimentos de transformação da paisagem confirmando que a publicidade está construindo o seu espaço na ambiência digital. Os resultados mostraram mudanças evidentes nos formatos dos anúncios publicitários e um dos aspectos relevantes é o espaço dedicado aos anúncios, que aumentou de forma considerável ao longo dos anos, fato que revela uma adesão maior dos anunciantes à publicidade veiculada na web.

This dissertation presents a practical theological evaluation of Bible study materials which incorporate the video medium as part of their package. I begin by establishing a focus of practical theology which emphasises the importance of the development of an active reflective sojourning of the practical theologian. I conclude that: <ul> Practical theology is concerned with establishing and cultivating the rhythm of action and reflection within the experience of the Christian community of faith. This is a process of listening to the Word of God and discerning to address the community of faith through proposing change, with all these tasks operating within a current context of the Christian faith and for the purpose of maintaining and perfecting the Christian community.</ul> Following this, I present the established rhythm of action and reflection by drawing on a narrative of my experience and arrive at a perceived problem with the current development of Bible study materials that incorporate the video medium. The following thesis is proposed: <ul> The Church has a responsibility to train and equip believers within the context of the relational community interacting with the Word of God so the community may grow in discernment and maturity. The Church has, and continues, to utilise different media to provide teaching and training on a mass scale. The current products being developed as Bible study materials (especially those incorporating the video medium) are failing to meet this responsibility.</ul> From this position the study then presents a continuing sojourning through a theoretical and empirical investigation to explore the validity of the thesis and cultivate further my active reflection. The theoretical investigation provides three complimentary perspectives for evaluation: Cultural Value Systems; Communication Theories; and Pedagogical Approaches. The empirical exploration includes a Qualitative Document Analysis of the Bible Study Products which is supplemented by Qualitative Interviews of small group leaders from a local church setting. In conclusion, the thesis is re-evaluated against the outcomes of the study and a proposed change is presented for the purpose of maintaining and perfecting the Christian community. This draws attention to the tension between established cultures and the introduction of new technologies; the importance of a production focussed informed by a theology of small groups; the need for new media to be continually evaluated in their utilisation; and the need to recognise the dominant ‘message’ communicated by the combination of content and the medium. A closing narrative reflection of my experience is also included to illustrate the ongoing cultivation of the rhythm of action and reflection which this study has encouraged. Copyright / Dissertation (MA(Theol))--University of Pretoria, 2013. / Practical Theology / unrestricted

El presente estudio contrasta el efecto que genera Facebook en nativos e inmigrantes digitales peruanos, durante la interacción con el otro y en la construcción de su identidad virtual. Durante el proceso de investigación se conversó con dieciocho jóvenes y doce adultos a través de entrevistas a profundidad y grupos focales; y se descubrió que Facebook se presenta como una plataforma que logra uniformizar la apropiación de esta red social en dos generaciones estereotipadas como opuestas, al estar separadas por una brecha tecnológica. Vemos que la brecha va desapareciendo y la digitalización de la identidad, dentro de Facebook, sienta sus propias reglas de juego cuando nativos e inmigrantes pertenecen a un mismo contexto social y comparten un estilo de vida. / Trabajo de investigación

Inom svenskämnesdidaktisk forskning har digitala medier i undervisningen börjat få ett allt större fäste. Det som emellertid saknas är poddars plats i den digitala lärmiljön. Syftet med föreliggande undersökning var således att studera hur en didaktisk design som inkluderar poddar kan konstrueras för att motivera elever till muntlig framställning. Det empiriska materialet utgjordes av en triangulering baserat på enkäter, fokusgruppsamtal och observationer med etnografisk ansats. Målgruppen för undersökningen var en klass bestående av 15 elever från en kommunal gymnasieskola. För att undersöka huruvida motivationen hos eleverna förändrades, gjordes ett för- och eftertest utifrån en motivationsmodell. Modellen innehöll fem dimensioner, samtliga behandlades i både enkätundersökningen och under fokusgruppsamtalen. Resultatet visade att eleverna blev motiverade till muntlig framställning när poddar inkluderades i undervisningen. Vidare styrkte resultatet vikten av varierande undervisning, där alternativa strategier kopplade till muntlig framställning nyttjas. Undersökningen bidrar därför med ny kunskap om hur denna medieform formar villkor och möjligheter för kunskap i en allt mer digitaliserad skola. / Within didactic research regarding Swedish as a subject, digital media has started to gain a lot of ground. However, the podcasts' place within the digital learning environment is missing. The purpose of the present study was therefore to study how a didactic design that includes podcasts can be constructed to motivate students to perform oral presentations. The empirical material was constituted by a triangulation based on surveys, focus group discussions and observations with ethnographic approaches. The target group for the study was a class consisting of 15 students from a public upper secondary school. In order to investigate whether the students' motivational levels were changed, a pre- and a post test were conducted using a motivational model. The model contained five dimensions which were all treated in the survey and the focus group discussions respectively. The result showed that podcasts can make students more motivated for oral presentations. Furthermore, the result stressed the importance of a varied pedagogy where alternative strategies linked to oral presentations are utilized. Therefore, the research contributes with new knowledge regarding how this form of media creates conditions and options for acquiring knowledge in an increasingly digitalized school.