In recent years, New Media such as internet not only impacted old media but also widely used by citizenship. For example, Thousands of internet users set up a voluntary "Morakot Typhoon disaster network center" raised supplies and reported the latest disaster in remote mountainous areas in 2009. January 2011 People in Egypt also used a network of new media to raise citizen to demonstrate their anger of government, they finally attracted international attention. These phenomena have demonstrated new media's power and influence. ¡@¡@This study explores the factors and cognitive attitudes of citizens when they through a network use new media to participate in public affairs. The factors were chosen from literatures and corresponded to PAM (integrated public affair management framework). Five decision-making variables (cues) of this study are "selfish - altruism", "support from peer", "self-ability", "anonymous degree ", and "the issue of topic". Questionnaire was based on Social Judgment Theory, SJT. Both physical survey questionnaires and internet questionnaires were disseminated to new media users. Total questionnaires are 152 and valid questionnaires are 88. Through statistical software policy PC to understand the subject's decision-making for these five variables in the cognitive approach. The results are as follows: 1. In the average weights, the most important cue for all groups is "anonymous degree" followed by "self-ability", "selfish - altruism", "support from peer", and "the issue of topic". 2. In the judgment functions, all groups have positive attitude toward the three cues: "selfish - altruism", "self-ability" and "anonymous degree". All groups have U-curve attitude toward the cue:"support from peer". All groups have positive attitude and U-curve attitude toward the cue:"the issue of topic".

Die effektive Erzeugung von Wissen ist eine der zentralen Herausforderungen des 21. Jahrhunderts. Informations- und Kommunikationstechnologien, wie die Neuen Medien, durchdringen alle Bereiche des täglichen Lebens. Sie ermöglichen den Zugriff auf gigantische Datenmengen, die die Grundvoraussetzung für die Generierung von Wissen darstellen, aber gleichzeitig eine Datenflut bedeuten, der wir ohnmächtig gegenüberstehen. <br><br> Innerhalb der raumwissenschaftlichen Fachdisziplinen spielen die Neuen Medien für die Kommunikation von Sachinformation eine wichtige Rolle. Die internetbasierte Distribution von Karten, angereichert mit zusätzlichen Informationen in Form von Audiosequenzen oder Filmausschnitten, spiegelt diese Entwicklung wieder. Vor diesem Hintergrund erfolgt die Untersuchung der Frage, ob Neue Medien dazu genutzt werden können, raumwissenschaftliche Fachinhalte zu vermitteln. Von besonderem Interesse ist dabei die Frage, ob durch den Einsatz Neuer Medien in der Lehre ein Mehrwert für die Benutzer entsteht. Der Ausgangspunkt dieser Forschungsfrage besteht in der herausragenden Bedeutung von Visualisierung zur leicht verständlichen Darstellung komplexer Sachverhalte, sowie der entsprechenden Werkzeug- und Methodenkompetenz für die Nutzung Neuer Medien in den raumwissen-schaftlichen Disziplinen.<br><br> Die Grundlage für die Entwicklung von mehrwertigen Lernangeboten ist die Betrachtung von Lernen als Kommunikationsprozess zur Konstruktion von Wissen, was bedeutet, dass der Entwickler derartiger Angebote über Möglichkeiten zur Optimierung dieses Kommunikationsprozesses verfügt. Auf dieser Basis erfolgt eine Erweiterung des in den raumwissenschaftlichen Disziplinen verwendeten Kommunikationsbegriffs um den Aspekt der Lehre von Fachinhalten. Als relevante Ansatzpunkte für die Optimierung der Kommunikation von Fachinhalten werden die didaktische und die mediale Aufbereitung identifiziert. Diese können zum einen die Motivation der Lernenden positiv beeinflussen und zum anderen durch Wirkung auf die Wahrnehmung der Lernenden zu einem vereinfachten Verständnis beitragen. Im Mittelpunkt der didaktischen Aufbereitung steht die problemorientierte Vermittlung der Inhalte, d.h. sie werden anhand konkreter Problemsituationen aus der Praxis vermittelt und gelten deshalb als besonders anschaulich und anwendungsorientiert. Bei der medialen Aufbereitung steht die Verwendung einer Kombination aus Text und Graphik/Animation im Mittelpunkt, die darauf abzielt, das Verstehen komplexer Sachverhalte zu erleichtern.<br><br> Zur Überprüfung der Forschungsfrage haben Studierende raumwissenschaftlicher Studiengänge der Universität Potsdam das Lernangebot ausprobiert und anhand eines Fragebogens verschiedene Aspekte bewertet. Themenschwerpunkt dieser Evaluation waren die Akzeptanz, die Bedienbarkeit, die didak-tische und mediale Aufbereitung der Inhalte, die Auswahl und Verständlichkeit der Inhalte sowie die Praxistauglichkeit. Ein Großteil der Befragten hat dem Lernangebot einen Mehrwert gegenüber konventionellen Bildungsangeboten bescheinigt. Als Aspekte dieses Mehrwertes haben sich vor allem die Praxisnähe, die Unabhängigkeit von Zeit und Ort bei der Nutzung und die Vermittlung der Inhalte auf der Grundlage einer Kombination aus Text und interaktiven Animationen herauskristallisiert. / The effective generation of knowledge is one of the central challenges in the 21st century. Technologies of information and communication like the new media pervade all areas of daily life. They grant access to gigantic pools of data, which form the basic precondition for the generation of knowledge. At the same time, we often feel helpless in the face of this deluge of data.<br><br> New media play an important role in the communication of factual information within the geospatial sciences. Internet-based distribution of maps augmented with ancillary information such as audio sequences or film clips mirror this development. On this background the question whether new media can be used in order to communicate geospatial factual information is examined. The question, whether the application of new media in teaching forms an addition in usability for the user is of special interest. The outstanding significance of visualisation for the easily intelligible description of complex facts as well as the competence with tools and methods for the usage of new media within the geospatial sciences is the starting point of this research question. <br><br> The basis for the development of augmented learning materials is the consideration of learning as a process of communication in the construction of knowledge. This implies that the person developing those augmented learning materials has access to means with which to optimize this communication process. On this basis, the term „communication“ as used in geospatial sciences becomes augmented with aspects of the procurement of factual information within the teaching process. The didactic and the medial processing are identified as relevant starting points for the optimization of the communication of factual information. On the one hand, they can have a positive influence on students’ motivation to learn. On the other hand, their impact on the cognition of the learners can contribute to a better understanding. At the center of the didactic processing is the problem-based communication of the contents. They are being communicated on the basis of practical problem situations and therefore are classified as especially vivid and operationally oriented. In the medial processing, the use of a combination of text and graphics and/or animation is of central importance. It aims at an easier understanding of complex facts. <br><br> In order to collect data for the verification of this research question, students of geospatial sciences at the University of Potsdam have tested teaching offers in the form of web-based training units and evaluated its diverse aspects by means of a questionnaire. Focal points of this evaluation were usability, acceptance, didactic and medial processing of content and practicability. Opposed to conventional teaching offers, the majority of the interviewees claimed to benefit from the web-based training unit. As the main aspects of this benefit, students mentioned the independence of time and space in the usage and the communication of the content based on a combined use of text and interactive animations. <br> ----------<br> Das HTML-Dokument enthält die Lernsequenz "GIS in der Standortplanung". Die Anwendung wurde im Rahmen der Dissertation angefertigt und ist Teil der vom BMBF geförderten Lernumgebung geoinformation.net.

Contemporary art market in China has influenced Taiwan¡¦s art market recently. The number of auction houses and new art galleries has been increased in Taiwan. The researcher discovered that the work of New Media Art has represented by galleries gradually. However, the sale of work of New Media Art is still limited. The reason is that the work of New Media Art lacks of physical form, and it can be easily replicated, which is contradicting to the traditional collectors¡¦ perspectives. This research attempts to understand how the New Media Art be promoted through galleries¡¦ perspectives. Three questions are raised in this research: First, How is the partnership between galleries and new media artists? And what service galleries provide to the collectors? Second, how galleries manage the product of New Media Art? And how it is different from managing other traditional art works? Third, how galleries interact with external environment, such as competitors, governments, enterprises, museums, academic departments, curators and auction houses? And how these environmental factors influence galleries while managing the work of New Media Art? Cross-case studies are used as the research methodology. Eleven galleries were interviewed, including East Gallery, IT Park, Lin & Keng Gallery, Galerie Grand Siecle, Main Trend Gallery, AKI Gallery, Chi-Wen Gallery, VT Artsalon, Soka Contemporary Space, Project Fulfill Art Space, and Gallery 100 (by establishing time). Methods of data collection include observation, document analysis and interviews. Triangulation is used to increase the credibility and trustworthiness. In conclusion, this research shows the New Media Art is still one of the commodities that the galleries sell. In order to respond to variable formats of New Media Art, galleries need to take different actions to promote them. Few suggestions are generated from this research: First, the work of New Media Art can easily be replicated; therefore, the government should assist to develop more effective technology to prevent the work be duplicated. Second, solving the restriction on the circulation of knowledge by promoting the concept of copy left. Third, galleries should have a more clear policy in consignment and licensing. Fourth, encouraging hi-tech corporations to sponsor hardware, and be responsible for equipment repairing. Galleries will only need to responsible for software of the work. Fifth, art education is good way to increase consumers¡¦ understanding on New Media Art. Galleries should connect with the museums effectively. Sixth, curators involve in commercial art galleries improve the value of the exhibitions. Galleries and curators should work on the details of cooperation. Seventh, galleries should host hung events in order to improve the interaction with communities. Eighth, while the Taiwanese contemporary art market is developing, galleries should monitor the quality of art, and develop long-term career path for artists.

The visual feedback loop has long-been ignored as a form and an aesthetic within new media. Media theories have largely assumed a medium is defined by the material technology, relegating visual feedback to a circumstance of media rather than a unique and well-defined concept. This thesis sets forth a criteria for characterizing the visual feedback loop as a desired form, that is, a distinct set of formal and phenomenological qualities that are independent of a medium. Grounding the criteria are the cinema theories of Gilles Deleuze and Sean Cubitt; these theories propose that the cinematic image relates visual forms to generate information in decoding rather represents information directly. The thesis elaborates the theoretical concepts in examples of visual feedback loops from video (Nam June Paikâ s TV Buddha, Bruce Naumanâ s Live Taped Video Corridor), new media art (Daniel Rozinâ s physical mirrors), and digital technologies (GPS navigation systems). To reconcile the visual feedback loop within media theories, the thesis calls for a radical change in how theorists define a medium. Moving away from notions of inscription and materiality, media now rely on a collapsed distinction between sender and receiver. Hence, visual feedback loops exist as remediations of a conceptual framework rather than a technological one, and so require a logic within media theory that allow for the rise of other desired forms like the visual feedback loop.

Researchers consistently find that mainstream media often represent women athletes in stereotypical ways including trivialization, sexualization, infantilization, passivity, and utilization of camera down-angles. However, research on new media's visual representation of women athletes is still in its infancy. This study adds to the growing literature on new media's representation of women athletes and concurs with previous findings suggesting that new media might be an outlet that can counter old media gender stereotypes. This thesis used mixed methods of qualitative content analysis and photovoice in order to better understand how Big East volleyball players are represented in photographs on websites: Instances of stereotypes were few, action shots were numerous, and "extreme game faces" emerged as a new category for the visual representation of women athletes. These results might suggest that new media, specifically collegiate athletics' websites and volleyball fans, might defy traditional media's stereotypical gender representations. This thesis found that Big East women volleyball players were, overall, visually represented positively by NCAA.com, BigEast.org, Big East member schools' collegiate athletics websites, and fans of the University of South Florida's volleyball team during, and shortly after, the 2010 season.

In an effort to better understand retention, a survey was developed to ask students at a southern land-grant university how they communicate with each other. Communication Infrastructure Theory (CIT) was previously used to identify communication networks in urban neighborhoods. My thesis adapted this theory and networks to identify the strength of three communication techniques of college students and how it effects a student’s sense of belonging which can impact that student’s intent to stay in school.

The research engages the use of social media sites for musicians with a focus on Facebook. It determines which are the advantages the platform makes available for musicians, allowing them to employ Do It Yourself strategies of production, audience relationship management and self-management. The importance of audience response and demographics allow any musician integrate keen insight into the content delivery and thus, optimize their management accordingly. This thesis will establish the affordances that engage what aspects and uses of Facebook are changing the way amateurs operate. The research appropriates the context of professionalism to the variable of knowledgeability, know-how, and Stebbins’ (1977) seven variables (confidence, perseverance, continuation commitment, preparedness and self-conception) in order to note a definition of the modern amateur in contrast to professionals.

The technological progress of the world has had a massive effect on how we communicate with one and other, it also has had an big impact on how companies communicate with their customers and consumers. Today you cannot only communicate a “promise to your costumers and consumers you also have to “deliver” what it is you promise. Strategic communication is today not only to market your product but to ensure that your strategic communication is shown even in you innovation, design and product development.  This thesis is conducted in collaboration with No Picnic AB. The purpose of this study was to get an insight in how Swedish companies use their strategic communication. We aim on bringing a new point of view of strategic communication with innovation, design and product development also as a communication channel. Another hope is to get an understanding on how companies work with strategic communication on a practical level for use as media and communications students. Our problem is conducted as following: How does Swedish companies strategically communicate with their costumers and consumers? To achieve our purposes we did a qualitative investigation based on interviews with communicators on five Swedish companies. Our conclusion from the study is that combination of a strategically well performed “promise” and a well designed and developed “delivery” is to prefer for future success. Just being seen is not enough any more your products also has to communicate your company values in order to reach your visions.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

This dissertation examines the role that animation plays in the formation of transcultural fan communities. A “transcultural fan community” is defined as a group in which members from many national, cultural, and ethnic backgrounds find a sense of connection across difference, engaging with each other through a mutual interest in animation while negotiating the frictions that result from their differing social and historical contexts. The transcultural model acts as an intervention into polarized academic discourses on media globalization which frame animation as either structural neo-imperial domination or as a wellspring of active, resistant readings. Rather than focusing on top-down oppression or bottom-up resistance, this dissertation demonstrates that it is in the intersections and conflicts between different uses of texts that transcultural fan communities are born. The methodologies of this dissertations are drawn from film/media studies, cultural studies, and ethnography. The first two parts employ textual close reading and historical research to show how film animation in the early twentieth century (mainly works by the Fleischer Brothers, Ōfuji Noburō, Walt Disney, and Seo Mitsuyo) and television animation in the late twentieth century (such as The Jetsons, Astro Boy and Cowboy Bebop) depicted and generated nationally and ethnically diverse audiences. Exactly how such diversity was handled varied according to the specific animation producers, distributors, and consumers involved. And yet, all of these cases exemplify models of textual engagement and modes of globalization that have a continuing influence today. Building on the basis of twentieth-century animation, the third part of the dissertation illustrates the risks and potentials that attend media globalization in the Internet era of the early twenty-first century. The web media texts There She Is!! (2003) and Hetalia: Axis Powers (2006) are analyzed alongside results from a survey of animation fans conducted online and at fan events in Canada, the United States, and Japan between July 2009 and September 2010. This dissertation thus demonstrates the different ways of living together in the world generated by the global crossings and clashes of social life and mediated imaginaries today.