Submitted by Irene Nascimento (irene.kessia@ufpe.br) on 2017-06-09T18:24:14Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Dissertacao Gesa Karla Maia Cavalcanti_DEPOSITO.pdf: 4718272 bytes, checksum: 0024b6534d43a7db92f38cb5aed05a61 (MD5) / Made available in DSpace on 2017-06-09T18:24:14Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Dissertacao Gesa Karla Maia Cavalcanti_DEPOSITO.pdf: 4718272 bytes, checksum: 0024b6534d43a7db92f38cb5aed05a61 (MD5) Previous issue date: 2016-02-29 / CNPQ / Com o título "Televisão e Internet: configurações de TV Social em Malhação" esta dissertação explora o modo como cada vez mais a televisão busca oferecer uma experiência interacional a seus telespectadores. Para isso, explora,agora por meio das tecnologias digitais interativas, o potencial conversacional que a caracteriza como forma sociocultural. As estratégias de produção televisiva apoiadas na exploração das redes sociais digitais (Facebook, Twitter, sobretudo) permitem, por meio de aplicativos integrados ao televisor ou disponibilizados em dispositivos móveis, a criação de um sentimento de compartilhamento em torno dos conteúdos televisivos, comparado frequentemente a um “sofá expandido” pelo modo como permitem aos espectadores comentarem e conversarem em rede sobre os programas. Essa nova configuração da experiência televisiva tem sido associada à ideia de “TV Social”, fenômeno do qual nos ocupamos neste trabalho. O primeiro objetivo assumido pelo presente trabalho foi a tarefa de conceituação do fenômeno e delimitação desse tipo de experiência. Para isso, realizamos uma pesquisa de caráter exploratório-descritivo através da qual analisamos diferentes conceitos do termo TV Social e seus distintos significados, buscando recorrências nas descrições empregadas em campos disciplinares distintos (Tecnologia e Comunicação). Essa análise bibliográfica nos permitiu a delimitação de uma conceituação mais precisa da noção de TV Social, caracterizando melhor o fenômeno dentre as tantas manifestações da cultura participativa. Com apoioda conceituação proposta, ocupamo-nos do nosso segundo objetivo, a identificação e descrição desse fenômeno em Malhação, seriado juvenil produzido e exibido pela Rede Globo, buscando assim evidenciar os experimentos de TV Social na produção televisiva ficcional brasileira em um dos produtos da emissora que mais têm apelado para as formas interativas. Para isso, utilizamos um método de natureza descritiva, tendo como universo de análise as três últimas temporadas de Malhação (21ª, 22ª e 23ª temporadas), e objetivando a identificação de recorrências estratégicas de TV Social nas mesmas. Como principais achados encontramos seis diferentes tipos de estratégias de TV Social, são elas: hashtags diárias, aplicativo Malhação, Malhação no Ar, chats com o elenco e gratificações. / With the theme “Television and Internet: Social TV settings in Malhação”, this dissertation explores how increasingly television moves away from the status of passive media to offer an interactive experience to the viewers. To do this, television explores now, trough interactive technologies, the potential conversational that characterizes it as sociocultural form.The television production strategies based on the exploitation of digital social networks (Facebook, Twitter, above) allow, trough integrated applications to the TV or made available on mobile devices, the creating of a sense of sharing around television content, often compared to an "expanded couch" by the way that allow viewers to comment and talk about TV shows. This new configuration of the television experience has been associated with the idea of "Social TV", phenomenon that we study in this work. Our first objective was to conceptualize Social TV and the delimitation of this kind of experience. To do that, we conducted an exploratory and descriptive research through which we analyze different concepts of the term Social TV and its distinct meaning, seeking recurrences in the descriptions used in different disciplines (Technology and Communication). This literature review has enabled us to the definition of a more precise conceptualization of the concept of Social TV, featuring best the phenomenon among the many manifestations of participatory culture. Supported by the concept proposed, we are concerned the identification and description of this phenomenon in Malhação, brazilian telenovela produced and broadcast by Rede Globo, seeking to highlight the Social TV experiments in Brazilian fictional television production in one of the products of the station have most appealed to interactive forms.For this, we use a method of descriptive nature, with the universe of analysis the last three seasons Malhação (21th, 22th and 23th seasons), and aiming to identify strategic recurrences of Social TV in them. The main findings found six different types of social TV strategies, they are: they are: daily hashtags, Malhação application, Malhação Up, chats with the cast and bonuses.

Traditional TV viewing is on the fall and the TV has many competitors today. Around 80% of today’s TV viewers use some form of second screen while watching TV. A growing trend to catch the viewer is interactive applications to the shows. In this report, a survey has been carried out and an interview has been conducted with the developers of one of these applications, developed by the Swedish national TV broadcasters. This was done to answer the question: “How is the experience of a TV show affected by the use of an interactive application? From this, a new design model was created that all interactive TV-applications should benefit from. The study shows that the content becomes more engaging when the viewers themselves can interact, therefore enhancing the viewer experience. SVT is following the design principles for interactive TV-applications that exist today, but according to the new design model, they should focus more on developing the social functions further. They should also give alternatives for the user to adapt the content, such as appearance, in the applications themselves for a better user experience. / Traditionellt TV-tittande är på väg bort och TV:n har idag mångakonkurrenter. Cirka 80% av dagens TV-tittare använder någon annan typ av skärm samtidigt som de tittar på TV. En växande trend för att fånga tittaren är interaktiva applikationer tillprogrammen. Denna rapport beskriver en enkätundersökning samt en intervju med utvecklarna till en av dessa applikationer, utvecklad av SVT Interactive, för att besvara frågeställningen: “Hur förändras upplevelsen av ett TV-program vid användning av en interaktiv applikation?” Utifrån detta har en designmodell skapats, som alla interaktiva TV-applikationer kan dra nytta av. Studien visar på att innehållet blir mer intressant när tittaren själv får spela med, och att upplevelsen därför förhöjs. SVT följer de designprinciper som idag finns för en interaktiv TV-applikation, men enligt den nya designmodellen bör de fokusera mer på att vidareutveckla den sociala funktion de idag har. De bör även ge alternativ till användaren för att själv anpassa applikationens utseende och innehåll för en bättre användarupplevelse.

Durant les 20 dernières années, la recherche en visualisation d’informations (InfoVis) a permis l’émergence de nouvelles techniques et méthodes qui permettent d’assister l’analyse de données intensives pour la science, l’industrie, et les gouvernements. Cependant, la plupart de ces travaux de recherches furent orientés sur des données statiques pour des utilisateurs experts.Dernièrement, des évolutions technologique et sociétales ont eu pour effet de rendre les données de plus en plus dynamiques et accessibles pour une population plus diverse. Par exemple des flux de données tels que les emails, les mises à jours de statuts sur les réseaux sociaux, les flux RSS, les systèmes de
gestion de versions, et bien d’autres. Ces nouveaux types de données sont utilisés par une population qui n’est pas forcément entraînée ou éduquée à utiliser des visualisations de données. La plupart de ces personnes sont des utilisateurs occasionnels, d’autres utilisent très souvent ces données dans leurs travaux. Dans les deux cas, il est probable que ces personnes n’aient pas reçu de formation formelle en visualisation de données.Ces changements technologiques et sociétaux ont généré une multitude de nouveaux défis, car la plupart des techniques de visualisations sont conçues pour des experts et des bases de données statiques. Peu d’études ont été conduites pour explorer ces défis. Dans ce rapport de thèse, j’adresse la question suivante : « Peut-­on permettre à des utilisateurs non­-experts de créer leur propre visualisation et de contribuer à l’analyse de flux de données ? »La première étape pour répondre à cette question est d’évaluer si des personnes non formées à la visualisation d’informations ou aux « data sciences » peuvent effectuer des tâches d’analyse de données dynamiques utiles, en utilisant un système de visualisation adapté pour supporter cette tâche. Dans la première partie de cette dissertation, je présente différents scénarios et systèmes, qui permettent à des utilisateurs non­-experts (de 20 à 300 ou 2000 à 700 000 personnes) d’utiliser la visualisation d’informations pour analyser des données dynamiques.Un autre problème important est le manque de principes génériques de design pour l’encodage visuel de visualisations d’informations dynamiques. Dans cette dissertation, je conçois, définis, et explore un espace de design pour représenter des donnés dynamiques pour des utilisateurs non­-experts. Cette espace de design est structuré par des jetons graphiques représentant des éléments de données qui permettent de construire dans le temps différentes visualisations, tant classiques que nouvelles.Dans cette thèse, je propose un nouveau paradigme de conception (design) pour faciliter la réalisation de visualisation d’informations par les utilisateurs non­-experts. Ce paradigme est inspiré par des théories établies en psychologie du développement, tout autant que par des pratiques passées et présentes de création de visualisation à partir d’objets tangibles. Je décris tout d’abord les composants et processus de bases qui structurent ce paradigme. Ensuite, j’utiliserai cette description pour étudier *si et comment* des utilisateur non­-experts sont capables de créer, discuter, et mettre à jour leurs propres visualisations. Cette étude nous permettra de réviser notre modèle précédent et de fournir une première exploration des phénomènes relatifs à la création d’encodages visuels par des utilisateurs non­-experts sans logiciel. En résumé, cette thèse contribue à la compréhension des visualisations dynamiques pour des utilisateurs non­-experts. / During the past two decades, information visualisation (InfoVis) research has created new techniques and methods to support data- intensive analyses in science, industry and government. These have enabled a wide range of analyses tasks to be executed, with tasks varying in terms of the type and volume of data involved. However, the majority of this research has focused on static datasets, and the analysis and visualisation tasks tend to be carried out by trained expert users. In more recent years, social changes and technological advances have meant that data have become more and more dynamic, and are consumed by a wider audience. Examples of such dynamic data streams include e-mails, status updates, RSS 1 feeds, versioning systems, social networks and others. These new types of data are used by populations that are not specifically trained in information visualization. Some of these people might consist of casual users, while others might consist of people deeply involved with the data, but in both cases, they would not have received formal training in information visualization. For simplicity, throughout this dissertation, I refer to the people (casual users, novices, data experts) who have not been trained in information visualisation as non-experts.These social and technological changes have given rise to multiple challenges because most existing visualisation models and techniques are intended for experts, and assume static datasets. Few studies have been conducted that explore these challenges. In this dissertation, with my collaborators, I address the question: Can we empower non-experts in their use of visualisation by enabling them to contribute to data stream analysis as well as to create their own visualizations?The first step to answering this question is to determine whether people who are not trained in information visualisation and the data sciences can conduct useful dynamic analysis tasks using a visualisation system that is adapted to support their tasks. In the first part of this dissertation I focus on several scenarios and systems where different sized crowds of InfoVis non-experts users (20 to 300 and 2 000 to 700 000 people) use dynamic information visualisation to analyse dynamic data.Another important issue is the lack of generic design principles for the visual encoding of dynamic visualization. In this dissertation I design, define and explore a design space to represent dynamic data for non-experts. This design space is structured by visual tokens representing data items that provide the constructive material for the assembly over time of different visualizations, from classic represen- tations to new ones. To date, research on visual encoding has been focused on static datasets for specific tasks, leaving generic dynamic approaches unexplored and unexploited.In this thesis, I propose construction as a design paradigm for non-experts to author simple and dynamic visualizations. This paradigm is inspired by well-established developmental psychological theory as well as past and existing practices of visualisation authoring with tangible elements. I describe the simple conceptual components and processes underlying this paradigm, making it easier for the human computer interaction community to study and support this process for a wide range of visualizations. Finally, I use this paradigm and tangible tokens to study if and how non-experts are able to create, discuss and update their own visualizations. This study allows us to refine our previous model and provide a first exploration into how non-experts perform a visual mapping without software. In summary, this thesis contributes to the understanding of dynamic visualisation for non-expert users.

This article investigates how social media affects German public television. Due to recent dynamics in the field of social TV, notions of social TV as basically “tweeting while watching TV,” or as an “additional function” of television, need to be revised. As an addition to existing ideas of “Social TV 1.0” and “Social TV 2.0” and other characterizations, I refer here to “Social TV 3.0.” Current social TV features need to be characterized in the light of a “network of content” that combines the “media logic of television” and the “logic of social media” by means of their dynamic, flexible, and horizontal integration into the “matrix-media strategy” of TV executives impelled by a social media policy. By taking the content network funk (“a consortium of public broadcasters” [ARD] and “Second German Television” [ZDF]) as a prime example of social TV 3.0 in Germany, I analyze the merging of television and social media.

Made available in DSpace on 2016-06-02T19:06:17Z (GMT). No. of bitstreams: 1 6293.pdf: 6594637 bytes, checksum: 313540db5bd44c0b02cd3d086cf8c310 (MD5) Previous issue date: 2014-05-29 / Financiadora de Estudos e Projetos / Since its creation television has undergone major paradigm shifts, from black and white images to color displays, from analog systems to digital transmissions, from low quality display to high quality displays, from passive programs for fully interactive programs. Currently the term Social TV is gaining popularity in television and innovating once again the way people watch TV, combining computing and communication mechanisms to provide new ways to entertain and inform the viewer. The object of this work lies in the context of Social TV, explores the concept of support agents that have the role to stimulate social interactions, having the aim of enrich the quality of experience in watching television. This paper proposes a model of interaction between the agent and the viewers in Social TV systems and tests with users using a tool developed for the interaction model. Finally the paper compares the results of interactions to investigate the influence generated by inserting the support agent in an environment of Social TV. / Desde sua criação a televisão sofreu algumas mudanças de paradigmas, de imagens em preto e branco para telas coloridas, de sistemas analógicos para transmissões digitais, de qualidade de exibição de baixa resolução para sistemas de alta qualidade de imagem, de programas passivos para programas totalmente interativos. Atualmente o termo TV Social vem ganhando popularidade no meio televisivo e inovando mais uma vez a forma como as pessoas assistem televisão, combinando mecanismos de comunicação e computação para fornecer novas formas de entreter e informar o telespectador. O objeto de estudo deste trabalho situa-se no contexto de TV Social, explora o conceito de Agentes Incentivadores que possuem o papel de estimular interações sociais, possuindo a finalidade de alcançar enriquecimento da qualidade de experiência em assistir televisão. O trabalho propõe um modelo de interação entre o Agente Incentivador e os telespectadores de um sistema de TV Social e realiza testes com usuários utilizando a ferramenta de interação desenvolvida para o modelo. Por fim o trabalho analisa os resultados das interações para averiguar a influência gerada pela inserção do agente incentivador em um ambiente de TV Social.

Le but de cette thèse est de comprendre comment les entreprises peuvent faire augmenter une expérience donnant naissance à l’engagement des consommateurs grâce aux nouveaux médias (comme les vidéos du Web, les dispositifs de téléphonie mobile et la télévision "traditionnelle") afin de stimuler le comportement actif des clients et de redéfinir des stratégies commerciales de marketing. Nous avons structuré notre analyse sur trois études d’approche.Dans la première étude, nous avons décrit comment l'engagement personnel avec le contenu et l'engagement social interactif (résultant du sens perçu de la communauté, du sentiment d'appréciation intrinsèque et de la participation à l'expérience) influencent différemment le comportement actif et passif sur des sites de télévision sociale. Nous avons testé des hypothèses en estimant un modèle d'équation structurale avec les données d'une enquête sur un groupe de 814 utilisateurs de télévision sociale aux Etats-Unis et en Europe. Dans la deuxième étude, nous examinons l'influence de l'intrusion dans la vie privée sur la relation entre l'engagement expérientiel (c'est à dire l'engagement personnel et l'engagement interactif et social) et l'utilisation active et passif et nous avons testé ces hypothèses (379 utilisateurs) en tenant compte de services de géolocalisation sur téléphonie mobile. Dans la troisième étude, nous avons élargi notre cadre conceptuel et étudié les effets de l'engagement social interactif sur l'identité sociale et l'appréciation des marques. Le modèle a été validé expérimentalement en menant une enquête sur des pages de fans de Facebook de 20 grandes marques internationales situées en Europe et aux Etats-Unis (panel de 387 personnes). Les résultats émergeant des trois études prouvent que l'engagement expérientiel a des effets positifs sur le comportement du consommateur (actif et passif) en ligne et qu'il contraste avec l'effet négatif de l'atteinte à la vie privée. Les résultats obtenus confirment les effets positifs de l'engagement social et interactif sur les rapports affectifs des consommateurs pour une marque et le plein effet de l'identité sociale. De manière plus spécifique, les annonceurs publicitaires, qui forcent les expériences pouvant influencer l'engagement social et interactif, peuvent aussi influer sur l'identité sociale et le rapport avec une marque. / The thesis aims to understand how companies can leverage on consumer experiential engagement in new-media based social media environments (using video on the web, handheld devices and web 2.0) in order to stimulate active behavior and redefine commercial marketing strategies. We structure our analysis on a three studies approach. The first study describes how Personal Engagement with the content and Social-Interactive Engagement (resulting from the perceived sense of community, intrinsic enjoyment and participation experience) differently influence both active and passive behavior. We test hypotheses with survey data from a sample of 814 US and EU social TV users. In study 2 we examine the influence of privacy intrusiveness on the relation between Experiential Engagement (Personal and Social-interactive Engagement) and active and passive use and we test it (n=379) with reference to mobile location-based social networking applications in EU and US. In study 3 we develop a conceptual model in which social-interactive engagement influences social identity directly and brand love indirectly through the mediating effect of social identity. The model was empirically validated (n=387) on the Facebook fan pages of 20 leading international brands in EU and the US. Findings emerging from the three studies show that Experiential Engagement has positive effects on the consumer behavior online (active and passive) and it may contrast the negative effect of privacy intrusiveness. The results obtained show also a positive effects of social-interactive engagement on consumer-brand affective relationships (brand love) and the full mediating effect of social identity. More specifically advertisers, leveraging on experiences that influence social-interactive engagement can influence the social identity and the relationship with the brand

Работа представляет результаты изучения социальных телевизионных проектов и их влияния на формирование у телезрителей предпосылок к выстраиванию общественного диалога. Исследование выполнено на материале федеральных и региональных социальных телепроектов «Город добрых людей» и «За дело». В исследовании была изучена историческая предпосылка социального телепроекта «Город добрых людей». Доказано, что именно события 2019 года в сквере у драматического театра в Екатеринбурге послужили причиной создания социального телепроекта «Город добрых людей» на телеканале «4 канал». В ходе исследования доказано, что милосердие и сегодня не теряет актуальности, а проект «Город добрых людей» является проводником милосердия в социум, рассказывая о добровольческой помощи. / The paper presents the results of studying social television projects and their impact on the formation of prerequisites for building a public dialogue among viewers. The study was carried out on the material of federal and regional social TV projects «City of good people» and «For the cause». The study examined the historical background of the social TV project «City of Good People». It is proved that the events of 2019 in the square near the drama Theater in Yekaterinburg were the reason for the creation of the social TV project «City of good People « on the channel «4 Channel». In the course of the study, it is proved that charity is still relevant today, and the project «City of Good People» is a guide of charity to society, telling about voluntary assistance.