With the development of the broadband and the digital technology, different medium could integrate and converge together and the boundaries become dimmer and dimmer. For example, Chunghwa Telecom¡¦s (CHT) Multimedia On Demand service crossed the boundary and entered the digital visual industry in March, 2004. CHT¡¦s MOD is based on the television and through ADSL to offer the digital interactive TV service, making broadband from the study to the living room. Above the service platform, it could not only transmit the visual message, but also the voice and data messages. This kind of business model will be the operational target of the broadband suppliers in the future. However, there are some problems on the promotional pace of CHT¡¦s MOD mow. Based on the results of the earlier researches, the reason why the interactive visual service could not promote successfully is the government and companies put too much emphases on the technical infrastructure, but they all neglect the market situation and the customers¡¦ usages. But, in order to popularize one kind of new media technology, understanding the conditions of the target audiences accurately is the most important mission. Therefore, this research will take CHT¡¦s MOD as an example to understand the key factors which will influence the target audiences to accept the new media technology. And we will see the viewpoints of users. This research will take the Technology Acceptance Model as the main framework and combine the innovation characteristics, such as the compatibility, Trialability and observability. Moreover, we also take subject norm, network externality and new media technology self ¡Vefficacy into account. Through our survey and analysis, we could also prove the originate TAM again and our extended model is more explicative than the originated one. As TAM says, perceived usefulness and perceived ease of use will influence the behavioral intention to use directly. And perceived usefulness is the most powerful variable in the model. Other variables will influence the perceived usefulness or perceived ease of use. For instance, subjective norm and network externality have the positive and remarkable effect on perceived usefulness. And new media technology self ¡Vefficacy has the direct effects on the perceived ease of use. On the other hand, among the innovation characteristics, the compatibility and observability have the direct effects on the perceived usefulness and perceived ease of use, but trialability doesn¡¦t. That says, the more compatibility and observability are, the stronger perceived usefulness and perceived ease of use are. From the outcome of this research, we could understand the key factors of affecting the behavioral intention to accept CHT¡¦s MOD. And it could be the reference for the operators. Furthermore, all variables included in this research will affect the behavioral intention intensely. When we talk about such kind of information system with entertainments, the motivational variables could be considered.

Thesis (M.A.-Res.)--University of Wollongong, 2009. / Typescript. Includes bibliographical references: leaf 107-115.

The purpose of this study was to identify Artaudian criteria contained in three different performance practices including (1) a television performance, (2) a live performance, and (3) a workshop performance. These included, respectively, (1) an episode from The X-Files television series; (2) MetamorphoSex, a live ritual performance with performance artist Annie Sprinkle; and (3) Rachel Rosenthal’s DbD Experience Workshop. Core criteria of Artaudian Theater of Cruelty were established through analyses of the relevant literature. These criteria were then coupled with characteristics of French feminist theory and a “shamanistic” perspective to create a theoretical-analytic tool with Artaudian criteria as its centerpiece. Also, performance analysis, experiential and experimental reflexive-subjectivity, and performative poetics were techniques applied for analytic purposes. Analyses identified a range of Artaudian criteria and feminist and “shamanistic” characteristics in the three performances; these included radical and performative poetics, embodied states of ecstasy and transformation, and non-reliance on written texts and scripts in performance practices. Among other things, analyses of different performance practices indicates that identified Artaudian performances, as a whole, tend to hinge upon performing “in the extreme” and may inadvertently serve to reinscribe race and imperialist hegemonies through an exaggeration of performing “whiteness in the extreme.” Additionally, women performing “in the extreme” are often unfairly characterized as heightened and exaggerated examples of “womanness.” Masked behind themes of women’s empowerment are cultural and performative archetypes of woman as “goddess,” “monster,” or heartless “cyborg.” Implications of these findings are discussed as well as the creation of public spaces where groups of people gather for an “extreme” performative event that, through dramatic spectacle and purpose, unites them with a particular theme or focus. It is argued that such spaces have the potential to catalyze endeavors seeking transformation and, in particular, transform the social lives of the participants. / text

In 2K Games’ Bioshock (2007) the player, as the protagonist Jack, is thrown into a dystopian, futuristic alternate history of America. Rapture is an underwater city saturated in music: popular songs from the mid twentieth century; classical-style soundtrack pieces composed by Garry Schyman; characters humming, singing, whistling or playing instruments; musical vending machines; and even the sounds of whales and other creatures all participate in forming a textured soundscape. The songs from the 1930s - 50s used throughout Bioshock recall a real-world cultural environment—a popular music culture that is both comfortably recognizable yet strangely unfamiliar. They occur within the game world and are heard by the player and game characters, and thus the songs are diegetic or “screen music.” In Bioshock, such music is an explicit component of narrative production, game environment creation, and player immersion. Significantly, diegetic music participates in the construction of narrative through a constant interplay or negotiation with the video game’s other elements—visual, textual, ludic—and ultimately functions as a distinct discourse able to mediate for Jack/the player between contesting factors, via established conventional codes of musical, cultural, film, and now video game signification. Bioshock’s use of music initiates a pre-game discourse during installation and prior to every game session in the disc-loading scenes, and this musical discourse is continued throughout the narrative. The story’s opening and descent into Rapture further establishes and “naturalizes” the presence of diegetic music as part of the story being told, and as a vital component of the audio-visual environment enhances player immersion. At the same time, these opening instances and subsequent occurrences of diegetic music at significant points in the story demonstrate that music’s culturally encoded emotive potential produces ironic and poignant effects, while its lyrical intertextuality generates narratological and ludic commentary in various song/scene pairings.

My dissertation examines the experimental poetry of three periods, the historical avant-garde of the 1920s, the neo-avant-gardes of the 1950s, 60s, and 70s, and the digital avant-garde (from the 1990s until the present), drawing on the works of poets from the Luso-Hispanic world including the Iberian Peninsula and Latin America. Scholars such as Renato Poggioli and Peter Bürger define the avant-garde as radically new and unrepeatable, an "advanced" guard that exhausted its aesthetic and political possibilities. I challenge this view by establishing a continuity of avant-gardes that emerge during periods of technological innovation and cultural exchange, introducing new artistic modalities, engaging with emerging media and re-purposing the strategies of past avant-gardes to their own historical conditions. Experimental poetic practices such as visual, kinetic, phonetic, concrete, video poetry, and poetic performance have unfolded over time and across national boundaries in response to global, social, and technological forces. My focus is on poetry broadly understood as works that "experiment" with the interplay between the visual, the sonorous and the verbal, questioning both genre and medium specificity, and contesting traditional discipline-bound tools of analysis. In order to critically approach poems that are often not printed on a page, and depend on more than verbal communication, I draw on disciplines such as literary analysis--including close-readings--media theory, and film analysis, and deploy theories of metaphor, embodiment and affect to interpret works that focus on the materiality of language through typographic experiments, script animation, and performance. The selection includes poems by authors from the 1920s such as Josep M. Junoy, Joan Salvat-Papasseit, José Juan Tablada, Guilherme de Almeida; neo-avant-garde visual and concrete poets from the 1960s such as Joan Brossa, Julio Campal, Edgardo Vigo, and Décio Pignatari; and their contemporary counterparts working with digital media such as Ana María Uribe, Olga Delgado, María Mencía, Arnaldo Antunes, and Eduardo Kac. Examining digital poetry in the light of older poetic practices, I compare and contrast how artists have queried the status of literature as a purely script-based art, considering how notions of experimental literature have changed through time (diachronically), but also isolate each period (synchronically). / Romance Languages and Literatures

ABSTRACT Title: The new Public Service Authors: Hanna Haeggström, Sara Marklund, Madeleine Olsson Level: Bachelor thesis in Media and Communications Studies Supervisor: Olof Hultén Location: School of Communication and Design, University of Kalmar, spring 2008 Language: Swedish Number of pages: 55 There is an ongoing change of the media industry where new types of media emerge as a result of technological advancements. The audience and their use of the media have changed where available range has expanded while the size of the audience has remained the same. For media companies this implies a fight for the audience, where the right approach is vital for keeping as well as attracting new customers. Public service is an issue under current debate and its future role in the media industry has been brought into question. This survey investigates the roll of public service in Scandinavia in a new and changing media industry and how they should act to be important for their audience. The thesis targets how the public service phenomena works with new media channel, how they approach the change in how the audience consume media. The probable scenarios is based on the change between the current public service situation in the Nordic region and the future, where we put the future role of public service in a changing market into question. The study focuses on public service and is based on relevant theoretic frameworks and in-depth interviews. The theoretic-oriented framework is based on the phenomena from a change in media supply, a change in media consumption as well as how public service ought adjust to be in order for its survival. The interviews make out the core of the study, where key individuals from the industry have been interviewed. The direction of the interviews has been towards public service, emerging media, change in the audience, public service’s approach to their surroundings and how it can develop and become an organization adapted to today’s development. The conclusion of the study is that in order for public service to retain a function in the changing media environment have to maintain a high grade of audience utility. In order to do so, public service has to revaluate and change their strategy as the audience and their relation to and consumption of media services and products has changed.

This thesis, as part of the one-year Master Programme in Social Science with specialization in Digital media, has taken up the concepts of nation branding and new public diplomacy and examined them from the perspective of the role that new, digital or even innovative – as some may call them – media play within them. It consists of five (5) chapters and is a little less than sixty (60) pages long. The concepts and fields above  are usually confused with each other, as people tend to use the one notion for naming the other and vice versa. However, what is common in those two fields is the involvement of new media, such as social media platforms or platforms that enable crowdsourcing activities. Especially, within the past few decades that the internet has invaded the most into the lifestyle of a large segment of this planet, it seems as things, thoughts, ideas and actions are driven by or with the internet. Thus, with the opportunity of this thesis, I wanted to examine the role that new media play when it comes to talking about nation branding or new public diplomacy acts. This work has attempted to achieve that by focusing on a recently run initiative in Greece, called “Up Greek Tourism”. The initiative’s goal was to promote Greek tourism abroad, in an attempt to help Greece from within. A group of Greek people formulated the group and intended to gather the money through a crowdsourcing platform, in order to advertise Greek tourism abroad. What I actually tried to do is investigate the way they handled their channels of communication and the reason they chose internet as being central to their communicational policy. My idea was to do that by discursively analyzing a TEDx talk of the initiator, conducting a semiotic analysis on the images they used in their advertisements and by a short content analysis from the early stages of their Facebook page, through which it became known. Last but not least, I tried to verify the results by using their own answers from an open-end questionnaire they answered for me.

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Während der Elbeflut im Juni 2013 wurde in Dresden erstmals eine über das Internet frei zugängliche Hochwasserkarte eingesetzt. Über 3 Millionen Zugriffe erfolgten innerhalb des einwöchigen Betriebes. Somit konnte ein großer Teil der Einwohner erreicht und über aktuelle Gefahren informiert werden. Mit den Möglichkeiten, die eine solche Plattform bietet, wird aber gleichzeitig auch die Frage aufgeworfen, wie sich Bürger in Zukunft besser koordinieren lassen. (...)

Der vorliegende Beitrag beschäftigt sich mit der lernerorientierten Entwicklung von mobilen Bildungsmedien am Beispiel einer ePortfolio-Lösung und eines Kompetenzchecks für die duale Ausbildung. Nach dem Ansatz des Design Based Research (DBR) werden diese Bildungsmedien zur Verbesserung der Ausbildungsqualität in gewerblich-technischen Berufen in engem Dialog mit den zukünftigen Anwendern1, den Ausbildern, Auszubildenden, Lehrern und Meistern entwickelt und erprobt. Das Ziel der forschenden Entwicklung ist die Stärkung des lernenden Individuums im Prozess der Aneignung und Reflexion von Wissen und Können. Bei der Entwicklung der hier vorgestellten ePortfolio-Lösung wird aufgezeigt, wie qualitative Methoden aus dem Ansatz der agilen Softwareentwicklung (User Stories, Crowdtesting) den DBR-Ansatz im Hinblick auf eine gesteigerte Nutzerakzeptanz implementiert werden können.