La presente investigación busca dar a conocer cómo funcionan los tutoriales de YouTube al usarse como herramienta complementaria en el proceso de aprendizaje de los cursos universitarios de edición y postproducción audiovisual, pues, en los últimos años, tanto docentes como estudiantes, fueron integrando, progresivamente, el uso de plataformas digitales en la educación superior. Para cursos como edición y postproducción cinematográfica, YouTube fue utilizado para reforzar el aprendizaje o resolver dudas. Para este estudio, se usaron video tutoriales de los canales de YouTube de RunbenGuo, Yoney Gallardo y Nuvaproductions. El objetivo principal fue conocer cómo los tutoriales de YouTube funcionan al momento de usarse como herramienta complementaria en el proceso de aprendizaje de cursos universitarios de edición y postproducción. Para esta investigación, se desarrolló una metodología cualitativa de diseño fenomenológico. Para este tipo de estudio, se realizó análisis de contenido de video tutoriales de los canales ya mencionados y entrevistas a docentes, un experto y estudiantes de la carrera profesional de comunicación audiovisual y medios interactivos de la Universidad Peruana de Ciencias Aplicadas. Gracias al análisis desarrollado, se puede concluir en que los tutoriales de YouTube funcionan como una herramienta de ayuda para mejorar y amplificar el proceso de aprendizaje universitario del estudiante, ya sea por necesidad de pasar el curso con una nota mínima aprobatoria o por formarse como profesional. Asimismo, en el curso de postproducción, este hecho es más evidente y depende de la motivación por aprender, así como también del uso de tutoriales adecuados. / This research seeks to show how YouTube tutorials work when used as a complementary tool in the learning process of university audiovisual editing and post-production courses, since, in recent years, both teachers and students have progressively integrated, the use of digital platforms in higher education. For courses such as film editing and post-production, YouTube was used to reinforce learning or answer questions. For this study, video tutorials from the YouTube channels of RunbenGuo, Yoney Gallardo and Nuvaproductions were used. The main objective was to know how YouTube tutorials work when used as a complementary tool in the learning process of university editing and post-production courses. For this research, a qualitative phenomenological design methodology was developed. For this type of study, content analysis of video tutorials of the aforementioned channels and interviews with teachers, an expert and students of the professional career of audiovisual communication and interactive media of the Peruvian University of Applied Sciences were carried out. Thanks to the analysis developed, it can be concluded that the YouTube tutorials work as a help tool to improve and amplify the student's university learning process, either due to the need to pass the course with a minimum passing grade or to train as a professional. Also, in the post-production course, this fact is more evident and depends on the motivation to learn, as well as the use of appropriate tutorials. / Tesis

The book Postproduction: Culture as Screenplay, written by French aesthetician Nicolas Bourriaud is going to be initial text for my diploma thesis. Bourriaud claims, that contemporary art is mostly made by the principle of assemblage; art works are made by reinterpretation, reproducing or by new exhibiting of artefacts or forms of past. The assumption of the original concept in artworks of contemporary artists - semionauts (travelers in the worlds of signs) has been allready completely ineffective. Through the example of hyperrealistic paintings, which has lately reappeared in portfolios of international and czech artists, I will try to show whether its revilal is based on the emergence of new medias, that even more than in the seventies simulate reality or whether they deal with the concept of postpostprodution - the artists lend only formal, in this case, hyperrealistic, signs. This diploma thesis will be completed by the case study of paintings of czech hyperrealist painter Jan Mikulka.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Le compositeur canadien Paul Baillargeon a réalisé la musique de plus de quarante épisodes des séries télévisées Star Trek, maintenant traduites et diffusées à travers le monde. Star Trek est l’une des dernières séries télévisuelles américaines ayant utilisé un orchestre symphonique d’envergure avant que ses principaux compositeurs réalisent eux-mêmes leurs bandes sonores à l’aide d’ordinateurs et d’échantillons numériques, remplaçant ainsi la cinquantaine de musiciens qui perpétuait la tradition acoustique de la production musicale à Hollywood. Non seulement ces outils influencent-ils la musique de Paul Baillargeon, mais ils transforment aussi son travail au sein de la postproduction des populaires séries télévisées. Ce regard microscopique sur l’influence des technologies musicales dans la création télévisuelle s’inscrit dans un contexte plus vaste qui concerne les transformations culturelles et sociales issues des rapides progrès technologiques auxquelles nous assistons depuis deux décennies. / Canadian composer Paul Baillargeon wrote the music for more than forty television shows for the Star Trek series, now translated and broadcasted around the world. Star Trek was one of the last television series produced by a complete symphonic orchestra when Paul Baillargeon started using computers and digital samples, thereby replacing those musicians that were perpetuating Hollywood’s acoustical tradition. Not only do these tools affect the music of Paul Baillargeon, they also transform his work among the postproduction team of the popular television series. This close look at how musical technology influences composition and music production for that particular composer is part of a vast context in which technological progress has transformed our cultural and social fields for the past two decades.

This dissertation thesis is focused on the search for the presence of DIY (Do It Yourself) technologies in the practice of digital sculpting, from the beginnings of this progressive way of creation to the present. The work, through three thematic areas, answers the main research questions: What kind of technology is or has the DIY phenomenon been represented in digital sculpture? How have these technologies influenced and are influencing the development and direction of digital sculpture? Within the first thematic area, the presence of the DIY phenomenon in the beginnings of digital creation of a spatial work of art is mapped until the moment of constituting the concept of Digital Sculpture, as a designation of this new way of creation. The second area deals with specific technologies of digital sculpture, in terms of technical tools and their DIY alternatives. The development of these alternative technologies and their influence on the gradual democratization of digital sculpture tools is investigated. The third area examines the creative methods of DIY, which have been integrated into the practice of digital sculpture.