O objetivo da presente dissertação foi comparar os efeitos agudos de diferentes métodos de alongamento sobre a performance em testes motores e parâmetros neuromusculares. Para tanto, foram realizados dois estudos. Participaram do estudo 1, doze jogadores de futebol treinados, sendo submetidos a 5 condições experimentais: alongamento ativo (AT), balístico (BA), passivo (PA), facilitação neuromuscular proprioceptiva (FNP) ou condição controle (CO), em ordem randomizada e com intervalo mínimo de 48 h entre cada condição. Foram avaliados a altura de salto (H), potência pico (PP) e potência relativa (PR) no squat jump (SJ) e countermovent jump (CMJ), amplitude de movimento (ADM), tempo (s) nos 10-20-30 m durante o sprint e percepção subjetiva de esforço (PSE). Os métodos de alongamento AT e BA não promoveram alterações agudas na performance nos 10, 20 e 30 m, e na H, PP e PR em ambas as técnicas CMJ e SJ. Por outro lado, os métodos PA e FNP promoveram efeitos negativos (p<0.05) na performance na H, PP e PR no CMJ e SJ. Além disso, escores significativamente superiores de PSE foram relatados após as sessões de alongamento PA e FNP em comparação a AT e BA. Foram encontrados aumentos significativos em ADM após todos os métodos de alongamento. Portanto, os métodos AT e BA podem ser utilizados previamente a atividades de salto vertical e sprint, com o objetido de aumento de flexibilidade. Já os métodos PA e FNP devem ser evitados, em função das maiores intensidades alcançadas nestas condições e pela extensa possibilidade de efeitos negativos posteriores na performance do salto vertical. Para o estudo 2, os jogadores de futebol foram submetidos as mesmas condições experimentais (CO, AT, BA, PA e FNP). Porem, foram avaliados a força máxima por meio do teste de uma repetição máxima (1 RM) para o exercício agachamento completo, e parâmetros neuromusculares através da técnica do twitch interpolation. Foram monitorados as variáveis força pico, taxa de desenvolvimento de força, amplitude da twitch superimposed e twitch potentiated, e percentual de ativação voluntária referentes ao sinal de força, e a root mean square, M-Wave e razão RMS/M-Wave referentes ao sinal eletromigráfico (EMG) (músculos: vasto lateral e reto femoral), durante contrações voluntária isométrica máxima (CVM) de extensão de joelho. Não foram encontradas alterações significativas na performance do teste de 1 RM e CVM após as condições CO, AT, BA, PA e FNP. Além disso, também não foram encontradas alterações significativas nas variáveis relativas ao sinal EMG. Dessa forma, sessões de alongamento semelhantes a do estudo [3 séries x 30 s de alongamento à 100% do point of discomfort (POD)], independente do método de alongamento, parecem não promover efeitos negativos posteriores na performance da força máxima e em parâmetros neuromusculares em atletas treinados. / The aim of this dissertation was to compare the acute effects of different stretching methods on motor tests performance and neuromuscular parameters. For this, two studies were conducted. Participated in the study 1, twelve trained soccer players, being submitted to 5 experimental conditions: active stretching (AC), ballistic (BA), passive (PA), proprioceptive neuromuscular facilitation (PNF) or control condition (CO), in random order and with a minimum interval of 48 h between each condition. It was evaluated the jump height (H), peak power (PP) and relative power (PR) in squat jump (SJ) and countermovent jump (CMJ), range of motion (ROM), 10-20-30 m sprint time and rating of perception exertion (RPE). The AC and BA stretching methods did not promote acute changes in performance at 10-20-30 m sprint time, and in H, PP and PR in both CMJ and SJ techniques. On the other hand, PA and PNF methods promoted negative effects (p <0.05) on H, PP and PR performance in CMJ and SJ. In addition, significantly higher RPE scores were reported after the PA and PNF stretching sessions compared to AC and BA. Significant increases were found in ROM after all stretching methods. Therefore, AC and BA methods can be used prior to vertical jump and sprint activities, with the aim of increasing flexibility. On the other hand, the PA and PNF methods should be avoided, due to the higher intensities reached in these methods and the extensive possibility of subsequent negative effects on vertical jump performance. For study 2, soccer players underwent the same experimental conditions (CO, AC, BA, PA and PNF). However, maximum strength was assessed by a maximal repetition test (1 RM) for the full squat exercise, and neuromuscular parameters using the twitch interpolation technique. The variables peak force, rate of force development, amplitude of superimposed twitch and potentiated twitch, and percentage of voluntary activation referring to the force signal, and root mean square, M-Wave and RMS/M-Wave ratio referring to the Electromyographic (EMG) signal (muscles: vastus lateralis and rectus femoris), during maximal isometric voluntary contractions (MVC) of knee extension. No significant changes were found in the 1 RM and CVM performance after CO, AC, BA, PA and PNF conditions. In addition, no significant changes were found in the variables related to the EMG signal. Thus, stretching sessions similar to the study [3 series x 30 s of 100% point of discomfort (POD) stretching], independent of the stretching method, do not seem to promote posterior negative effects on maximum strength performance and on neuromuscular parameters in trained athletes.

Att spela in sig själv och sända live på internetsidan Twitch.tv har ökat drastiskt i popularitet mellan 2012 och 2020. Med tiden har dock antalet aktiva sändare på Twitch.tv ökat mer än antalet tittare. Därmed har konkurrensen blivit kraftigare och vikten att marknadsföra sig och sticka ut visuellt likaså. Studien syftar till att undersöka vilka grafiska element från traditionell television som är relevanta och praktiskt applicerbara på en personlig livesändning på Twitch.tv. Vidare ska studien besvara hur dessa grafiska element upplevs på en personlig livesändning. I denna studie definieras grafiska element som visuella hjälpmedel i television och på livesändningar på Twitch.tv.  För att besvara frågeställningarna gjordes först en visuell analys av grafiska element på TV och populära teman på Twitch.tv. Utifrån resultatet från dessa skapades två teman som applicerades på innehåll typiskt för livestreaming på Twitch.tv. Videofilmer av dessa exempel testades genom en onlinebaserad enkätundersökning. Studiens slutsats är att resultaten tyder på att grafiska element från television som är relevanta och praktiskt applicerbara på en livesändning på Twitch.tv är introsekvens, bug, News ticker, lower third och eftertexter. Mottagarna upplever ett tema inspirerat från vanliga teman på Twitch.tv som lite mer givande och mindre störande än ett tema inspirerat från traditionell television. / To record oneself and broadcasting it live to the internet site Twitch.tv has increased in popularity dramatically between 2012 and 2020. Over time, however, the number of active broadcasters on Twitch.tv have increased more than the number of viewers. Competition has become more fierce as a result, and with it, the importance of branding and standing out visually has increased as well. This study aims to investigate which graphic elements from traditional television are relevant and practically applicable to a personal live broadcast on Twitch.tv. Furthermore, the study will answer how these graphic elements are perceived on a personal live broadcast. In this study, graphic elements are defined as visual aids in television and on live broadcasts on Twitch.tv. In order to answer the questions, a visual analysis of graphic elements from television and popular themes used on Twitch.tv was first made. Two themes were then put together based on those results and later applied to content typical for a live stream on Twitch.tv. Lastly, the resulting videos were tested with the help of an online survey. The study’s conclusion is that the results indicate that graphic elements from television that are relevant and practically applicable to a live broadcast on Twitch.tv are intro sequences, bugs, News tickers, lower thirds and credits. The recipients experience a theme inspired by common themes on Twitch.tv as a bit more rewarding and less disturbing than a theme inspired by traditional television.

Den stora tillgängligheten till Internet har inneburit att allt fler människor börjat kommunicera och interagera online, både via sociala medier och onlinespel. Antalet nya plattformar där människor med samma intresse kan mötas och interagera ökar hela tiden. En av alla dessa plattformar är Twitch där individer kan välja att sända live när de spelar dator- och tv-spel medan andra kan välja att agera publik. Utifrån grundad teori undersöker vi hur personer upplever att streama via Twitch och vilka de mest centrala aspekterna av detta är i syfte att öka förståelsen kring detta relativt nya fenomen. Genom intervjuer, frågeformulär och observationer lyfter studien fram hur dessa personer upplever bland annat gemenskap, krav, frustration och näthat genom streamingen. Resultatet visar bland annat på att det är upplevelsen av gemenskap som är det mest centrala inom fenomenet och i de flesta fall det som gör att personerna väljer att ägna sig åt streaming. Utifrån Giddens teori om det senmoderna samhället kopplas fenomenet till ett nutida sammanhang och med Goffmans teorier om roller belyses samspelet mellan streamarna och deras tittare.

Sedan Twitch startade sin livestreaming site 2011 så har livestreaming vuxit otroligt fort. År 2014 hade Twitch 100 miljoner unika tittare varje månad. De som streamar på Twitch är allt från esport spelare till personer som streamar för nöjets skull. Idag finns det streamers som inte jobbar utan livnärar sig på att streama och få microdonationer från sina tittare. Vi är nyfikna på hur en streamer kan leva genom att bara spela datorspel. De samlar på sig en publik som återkommer så fort streamern börjar streama. Utöver reklam på deras sida så får streamers in microdonationer via sina tittare. Dessa microdonationer står för en stor del av deras inkomst. Vi har valt att fokusera extra på de som tittar och inte de som streamar. Hur kommer det sig att någon kan tänka sig att donera pengar till en streamer? Vi har då valt att göra en enkät om motivation och microdonationer som Twitchtittare kommer svara på. I vår undersökning så var det endast 36.5% som spenderade mindre än 4 timmar per vecka på Twitch, restrerande svar var från personer över 4 timmar. Enligt vår undersökning så påverkas många inte av andra när det kommer till val av streams. Många väljer stream på grund av att streamern är underhållande eller att man spelar likadana spel som streamern. Trots att vissa personer i undersökningen spenderar mycket tid på Twitch så donerar de inte ofta. 43% har varken donerat eller subscribat till en stream innan. Endast 5.5% donerar mycket (över 10 $) och ofta. Enligt vår undersökning så har endast 56.1% donerat eller subscribat till en stream innan. Man får ta hänsyn till att 75,6% är ungdomar under 24 år och kanske inte har en inkomst, därav är det svårt att donera trots att man vill. Trots att många donerar väldigt små summor så finns det personer som donerar otroligt stora summor där en streamer kan nästan hamna i chocktillstånd. Det fanns ett antal olika faktorer som motiverade personer att donera sina pengar till streamers. De tre mest framstående faktorerna var "Entertaining streamer" en streamer som engagerar publiken och får dem att skratta, "I play the same game" tittarna känner igen spelet och spelar det under sin egen tid och "I want to learn something" tittarna vill förbättra sina egna färdigheter och lära sig något nytt. Mer än hälften av de personer som svarat skulle vara villiga att spendera minst 10 dollar i månaden på Twitch relaterat material. De flesta av de personer som svarade var män och cirka 1525 år. “Benefits” dvs få något i utbyte mot en donation hade en mycket lägre effekt på folks motivation än väntat. / Since Twitch started its livestreaming site in 2011 live streaming have grown incredibly fast. In 2014 Twitch had 100 million unique viewers monthly. The streams on Twitch range from esports players to people streaming for fun. Today there are streamers that are not working but instead create a living based on streaming and micro donations from its viewers. We are curious and want to explore how a streamer can live just by playing computer games. They accumulate an audience who will return as soon streamer begins streaming. In addition to advertising on their page to get streamers into micro donations through their viewers. These micro donations account for a large portion of their income. We focus on those watching rather than those who stream. How is it that someone would be willing to donate money to a streamer? We then decided to do a survey on motivation and microdonations Twitch viewers will answer. The questions is focused on what kind of genre, user prefer to watch and and what motivates them to donate. In our study, it was only 36.5% who spent less than 4 hours per week on Twitch, the rest of the responses were from people who spent over 4 hours. According to the responses of our survey people were not affected by others when it came to the choice of stream to watch. Many people choose the stream due to the streamer being entertaining or playing the same game as the streamer. Even if the people who answered our survey spent alot of time on Twitch only a part of them choose to donate 43% of them have neither donated or subscribed to a stream before. Only 5.5% donates much (over $ 10) and often. According to the answers only 56.1% have donated or subscribed to a stream before. We must take into account that 75.6% are young people under 24 years old and may not have an income, hence it is difficult to donate despite the fact that they want. Although many are donating very small sums, there are people who donate incredibly large sums which a streamer can almost fall into a state of shock. There was a number of different factors that motivated people to donate their money to streamers. The three most prominent factors were “Entertaining streamer” a streamer who engages the audience and makes them laugh, “I play the same game” the viewers recognize the game and play it during their own time and “I want to learn something” the viewers want to improve their own skills and learn something new. More than half the people who responded would be willing to spend atleast 10$ a month on Twitch related material. Most of the people who answered were men and around 1525 years. Benefits i.e getting something in return for a donation had a much lower impact towards motivating people than expected.

Nervous systems distinguish between self- and other-generated movements by monitoring discrepancies between planned and performed actions. To do so, when motor systems transmit motor commands to muscles, they simultaneously transmit motor copies, or corollary discharges, to sensory areas. There, corollary discharge signals are compared to sensory feedback arising from movements (reafference), which can result in gating of expected feedback. Curiously, in infant rats, twitches—which are self-generated movements produced exclusively and abundantly during active sleep (AS)—differ from wake-movements in that they trigger robust neural activity. Accordingly, we hypothesized that the gating actions of corollary discharge that predict wake reafference are suspended during twitching. In this dissertation, we first demonstrate that twitches, but not wake movements, robustly activate sensorimotor cortex as they do other brain areas. Next, we demonstrate that wake movements can activate the sensorimotor cortex under conditions involving presumed discrepancies between corollary discharge and reafference signals. Lastly, we reveal a neural mechanism in the brainstem that inhibits reafference, but only during wakefulness; this inhibitory mechanism is suppressed during active sleep. All together, our findings provide the first demonstration of a state-dependent neural comparator of planned and performed actions, one that permits the transmission of sensory feedback from self-generated twitches to the developing nervous system.

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This study aims to observe and understand what effect influence-earned and appointed badges have during Twitch streams and their interactions. Twitch is the most popular live streaming platform online and draws in a large number of content creators, with its primary draw being video game live streams. During video game live streams, streamers play a game and interact with viewers, of which there are different types depending on monetary contribution and status given by the broadcaster. Using ethnographic observation, two weeks’ worth of streams on a medium sized channel were viewed and later analysed with thematic structure, focusing on streamer-audience, viewer-subscriber, and the place of moderators and VIPs. The results show that while badges can delineate who is a regular viewer and who is not, beyond this they show little significance towards the positions of different audience members. Moderators and VIPs are shown to have more sense of regularity and more power over or exemption from chat limits. Additionally, those contributing monetarily are shown to get extra appreciation via on-screen alerts and triggered audio segments, making the streamer aware of their contribution. In chat, this earns them an additional badge, showing their level of contribution to the stream. This did, beyond recognition on stream, not show a longitudinal affect towards people who contributed monetarily. Overall, badges thus did not hold significant power, but observations raised more questions that inspire future research.

As a way of extending perspectives of writing and learning, this thesis explores everyday literacy activities and their role in function in shaping people's activities. Taking up an autoethnographic approach to studying the mundane literacies of everyday life, this thesis offers a fine-grained analysis of the processes and practices involved in two specific literate activities I have engaged in over the two years: creating a mixtape for a friend and streaming my participation in online video games. As key findings, the analysis of these everyday literate activities suggests that the interactions between people and social contexts figure prominently in the production and use of everyday texts, that everyday life is profoundly mediated by digital literacies, and that everyday literacies are often central to people's academic and professional lives. Ultimately, these analyses point toward the need for further inquiry into digital literacies, and to the potential pedagogical benefits of encouraging students to examine the mundane literacies at play in their everyday lives.

Varför sitter människor i flera timmar och tittar på när någon annan spelar ett dator/tv-spel? Idag har spelstreaming vuxit sig stort och flera miljoner väljer att titta på spelandet. I vår undersökning kommer vi att svara på vad som motiverar vissa människor att titta på spelstreams genom en kvalitativ intervjustudie. Från den data som vi samlar in från intervjuer tar vi ut de motivationsfaktorer som nämns och delar in dem i fem behovskategorier: cognitive, affective, personal integrative, social integrative samt tension release. Genom vår studie så blev det klart att samma person kan titta på spelstreams vid olika tillfällen, med olika motiv. De två absolutvanligaste motiven till att se på spelstreams var underhållning och att lära sig något. / Why do people sit for hours to watch someone else play a videogame? Today gamingstreaming has grown large and millions of people choose to watch others play games. In our study we will answer what motivates people to watch gamingstreams through a qualitative interview study. From the data that we collect through interviews we will extract the motivationsfactors mentioned and sort them by five need-categories: cognitive, affective, personal integrative, social integrative and tension release. Our study showed that the same person can watch gamingstreams with different motives at different times. The two most common motives for watching thestreams was entertainment and learning something new.