This master thesis aims to examine how the transfer of product related information is carried out in the manufacturing industry. The study was supposed to give suggestions for improving the CAD courses provided at Linköping University. This thesis is the concluding step for the authors’ master’s degree in mechanical engineering.In the beginning of the project a study of relevant literature was made. The literature was aimed to gain more knowledge of the subject at hand and finding relevant methods for collecting and analyzing data. To examine how the industry deals with product related data a multiple case study was conducted, investigating seven different companies that are working with both product development and production. As data collection method, semi-structured interviews of employees on the different companies were conducted.An adaptation of the “affinity diagram technique” was used when analyzing the collected data. The method divided the answers to questions provided by the different companies into different categories, in the form of statements. These where compared between the companies by the use of tables, showing the results in a clear manner. To give better insight in each company´s methods, a descriptive summary was written for each of the studied companies.To be able to give propositions of improvement for the courses at the University, some of the courses given where analyzed by reviewing the course description and goals, and through informal interviews of the course administrator. This led to better insight in what is included in the courses and what they are supposed to teach the students. The knowledge of what is included in the courses at this time and the results of the study of the companies, were the foundation when determining what could be changed in the courses.The case study showed that it varies greatly how much the companies are adapting new approaches for generating and spreading product related data. This made it difficult to find tangible evidence supporting changes to the courses, however, a few conclusions could be drawn from the results. It was found that 2D-drawings are still used to a great extent for carrying product related information. Only one of the studied companies have transitioned to using the 3D-model as an information carrier. Although it was mentioned on some of the other companies that such an approach seemed interesting.The study also showed that less handling of physical papers seems to be something most companies are interested in, and are also trying to achieve. It was also noted that all the companies studied had implemented some form of digital platform for handling product related documents.A few things that were deemed worth implementing in the mandatory courses were the introduction to PDM/PLM, introduction of 3D-annotations for dimensions and tolerances and increased use of the 3D-model for manufacturing operations. / Detta examensarbete ämnar undersöka hur informationsöverföringen av produktrelaterad data sker i industrin för att kunna ge förbättringsförslag för Linköpings Universitets CAD- och ritteknikskurser. Detta för att kurserna bättre ska spegla industrins nuvarande och även framtida behov. Examensarbetet utfördes på avdelningen maskinkonstruktion vid Linköpings Universitet och är det avslutande momentet på författarnas civilingenjörsutbildning i maskinteknik.Till att börja med utfördes en litteraturstudie. Detta för att ge kunskap inom det aktuella området och vilka metoder som kan användas för datainsamling och analys. För att undersöka hur industrins arbetssätt ser ut utfördes en flerfallstudie på sju olika företag som bedriver produktutveckling tillsammans med egen produktion. Som datainsamlingsmetod valdes semistrukturerade intervjuer med anställda på de olika företagen.Analysen utfördes med hjälp av en adaption av ”affinity diagram technique” vilket delade upp företagens svar i kategorier i form av påståenden. Dessa jämfördes mellan företagen med hjälp av tabeller eftersom det var tydligt sätt att representera resultatet. För att ge en inblick i hur varje enskilt företag arbetar utarbetades även en deskriptiv sammanfattning av varje företag.För att kunna ge förbättringsförslag till universitetets CAD- och ritteknikskurser granskades några av de nuvarande kursernas kursplaner. Detta tillsammans med en informell intervju av de kursansvariga ledde till bättre insikt om hur kurserna är uppbyggda och vad målen med dem är. Insikten om vad kurserna innehåller i dagsläget tillsammans med analysen av de studerade företagens arbetssätt bidrog till att ett antal förbättringsförslag kunde föreslås.Det visade sig att graden av användande av modernare arbetssätt varierar kraftigt bland företagen. Detta gjorde det svårt att komma fram till ett enhetligt resultat som gällde för alla de studerade företagen. Däremot kunde ett antal slutsatser dras. Bland annat används fortfarande 2D-ritningar flitigt som ett informationsbärande dokument. En övergång till att enbart använda 3D-modellen som informationsbärare noterades endast på ett utav företagen men nämndes på ett par andra.Papperslöst arbete verkar vara på frammarsch trots att vissa specifika moment fortfarande utförs på papper. Det noterades även att digitala system används för lagring och hantering av produktrelaterad information hos alla de studerade företagen.Det som ansetts värt att implementera i universitets obligatoriska kurser efter genomförd studie är främst ökad användning av PDM/PLM-system, introduktion av 3D-måttsättning samt utnyttjande av 3D-modellen vid tillverkning.

Irena Lehkoživová Between Architecture and Art: Reception of Mutual Relationships Doctoral thesis Abstract My doctoral thesis deals with the relationship between contemporary architecture and fine art. I track examples of such concepts and approaches in which architecture and art permeate and influence each other. Besides, I examine how selected authors approach the chosen topic. A detailed analysis of the work and ideas of individual selected architects or artists is thus complemented by clarification of their methods and starting points. The aim of this work is to look at the predefined studied subject and the context behind it, to explain the associated concepts, strategies and the functioning of mechanisms, and the transfer of themes, procedures and techniques of creation. The thesis consists of three chapters, separate case studies. The first chapter follows the tendencies and changes in displaying architecture, which, under the influence of art, tends to create more complex viewing experiences. I describe here two examples and approaches that come out of this tendency. In the first part, it is the approach to the exhibitions of the Swiss duo Herzog & de Meuron, the second part is devoted to the architectural installations, which under the influence of installation art allow the visitor a direct...

Abstract: During the past decade, media researchers have intensified the study of media scandals and the role of journalism as an institution that holds social actors responsible for malfeasance and wrongdoings. On a micro level of analysis, the main attention has beendirected towards the journalistic interview and its use to promote the impression of guilt and journalistic neutrality. However, such studies have not been able to address the editing dimension of TV journalism that transforms conversation to another type of communicativepractice – that of communication through TV-flows composed of speech sequences, pictures,and sounds. This doctoral thesis develops a theoretical framework for analysis of the functions of editing inthe process of guilt attribution by journalistic TV-flows – e.g. investigative TV reporting. The purpose is also to contribute to an understanding of the relationship between the communicative competences of viewers and the contextualization of speech acts through the composition of TV-flows. The developed perspective consists of three parts: 1) A division of viewers’ reception of TV-flows in two types of interpersonal relations (to a speaker and to the composer) that involves six levels of cognitive activities. This division is based on the Habermasian notion of communicative rationality; 2) An intent-model, that lists communicative intentions expressed by the composer when speech sequences are merged and pictures are inserted; 3) A guilt-model, that encompasses guilt as a mental structure of ontologically separated elements (e.g. deed,intention, norm) and the associative relations that the viewer uses to create a meaningful whole– a fabula of guilt. The conveyed analysis of three cases of investigative reporting illustrates how the developed framework can be applied in the study of guilt attribution. The analyses also describe several compositional strategies by which the viewer is encouraged to make certain meaning, evaluate, and judge. The strategies concern the following areas: promotion of certain understanding of speech, promotion of certain evaluation of the validity claims, and promotion of certain understanding of the speaker’s intentions. Also strategies of positioning of the reporter in constructed discourses, that enhance the impression of her performances and argumentation, are explored. Furthermore, the composer’s strategies for masking intentions to interfere with the speech acts, by increasing intent ambiguity, are described. The guilt-model is used to understand the workings of the TV-flow on an overreaching level of meaning (the fabula level). Here, the analysis explains the interplay between portrayed intentions and acts, and the different ways in which condemning norms can be activated and highlighted. Furthermore, the model explores the possible employment of categorization in theprocess of guilt attribution (e.g. when properties of an individual are transferred to a group). In sum, this thesis contributes to a new way of understanding the reception of current affairs programs and TV journalism, as relation building between composer and viewer, by means of contextualization of speech acts.

Text in Afrikaans / Dit is belangrik vir bemarkingsorganisasies om die effek van bemarkingsaksies en meer spesifiek reklame te meet van wee eskalerende koste-oorwegings. Wat die rol van reklame in verbruikersgedrag betref, is die belewing van of houding-teenoor-reklame konsepte van sentrale be lang. Aangesien die term bel ewing meer beskrywend is oor die impak wat advertensies op verbruikers het word hierdie term algemeen gebruik. Hierdie studie ondersoek die konsep advertensiewaardering en ontleed die invloed daarvan op advertensiebelewing. Die kyker-responsprofiel soos deur Schlinger (1979) ontwikkel, word algemeen gebruik om televisiekykers se houding teenoor televisie-advertensies te meet. Hierdie studie poog om die toepaslikheid en geldigheid van die kyker-responsprofiel onder Suid-Afrikaanse televisiekykers te ondersoek. Die navorsingsmetode het uit twee fases bestaan. Die eerste fase was meer kwalitatief van aard, en ondersoek kykers se kognitiewe struktuur van houding teenoor televisie-advertensies. Die teoretiese uitgangspunt tydens hierdie fase is persoonlike-konstrukteorie. Repertoriumrooster onderhoude is met 50 volwasse televisiekykers (ouer as 16 jaar) uit verskillende taalgroepe gevoer. Daar is bevind dat kykers gemiddeld ses konstrukte gebruik ten einde die waarderingsvlak van advertensies te bepaal. 313 Konstrukte is in totaal deur die 50 respondente ontlok. Hierdie konstruke is deur individuele roosterontledings en ooreenkomsanalise tot 'n aantal konstrukgroepe gereduseer. Beskrywings van konstrukgroepe is aan die hand van n literatuurnavorsing gedoen. Die konstrukgroepe (tevredenheid, vermaaklikheid, interessantheid, sosialiteit, duidelikheid, realiteit, tempo en emosialiteit) toon 'n mate van ooreenstemming met die sewe Schlinger basisfaktore. Die onderliggende indiwiduele konstrukte wat vermaaklikheid, sosialiteit tempo en interessantheid beskryf, toon hoe korrelasies met waardering wat daarop dui dat waardering meer as net vermaaklikheid behels. Fase twee was meer kwantitatief van aard en het die ontleding van 382 kykerresponsprofiele behels. 'n Faktorontleding van die 32 Schlinger-items het sewe basisfaktore tot gevolg. Die eerste vyf faktore (vermaaklikheid, verwarring, relevante nuus, handelsmerkversterking en empatie) beskik oor soortgelyke faktorladings as faktorontledings wat in die V.S.A. gedoen is. Hierdie bevinding dui daarop dat die affektiewe belewingstruktuur van televisiekykers in Suid-Afrika grootliks dieselfde is as kykers in die Verenigde State. Die ander twee faktore (familiariteit en vervreemding) se ladings verskil van die in die Verenigde State maar hierdie verskille kan gegewe die aard van die advertensies ( bestaande en nuwe advertensiekonsepte) en die kruiskulturele aard van Suid-Afrikaanse kykers verklaar word. Die Schlingeritems is statisties beskryf en ontleed deur die rol wat die tipe advertensie (bestaande versus nuwe), produk-kategorie en kulturele teikenmark speel in waardering van advertensies te ondersoeK. Nuwe konsepte is geneig om meer vermaaklik en relevant te wees. Zulu, Sotho en Xhose kykers is geneig om advertensies as meer positief te beleef. Kosmetika en medisinale-, korporatiewe- en motoradvertensies is verder minder vermaaklik as voedsel en handelsadvertensies. Die Schlingeritems wat advertensiewaardering die beste beskryf en voorspel is bepaal deur bondelontledings en meerdimensionele verskaling. Daar is gevind dat waardering die mate waartoe 'n advertensie aan die vermaaklikheids, empatie en relevante nuus doelwitte voldoen sonder om verwarrend, vervreemdend of oorbekend te wees. Dit wil voorkom of daar twee dimensies bestaan wat die meeste variansie in Schlingeritems verklaar naamlik waardering (positief of negatief) en relevansie. Bondelontleding dui verder daarop dat 'n positiewe persepsie van 'n geadverteerde handelsmerk kykers ontvanklik maak om meer van 'n advertensie te hou of te waardeer. / It is important that, given escalating cost considerations, marketing organisations determine the effect that their marketing efforts have. With regard to the role of advertising m consumer behaviour, attitude towards commercials is of utmost importance. This study examined the liking of television advertisement concept and analyses the effect of this concept on attitude towards television advertising. The viewer response profile as developed by Schlinger (1979) is commonly used to evaluate viewer's attitude towards television commercials. This study attempted to investigate the applicability and validity of this instrument amongst South African television viewers. The study consisted of two phases. Phase one was more qualitative in nature and investigated the viewer's cognitive structure of attitude towards television commercials. The theoretical approach used during this phase was personal construct theory. It was found that viewers on average use six constructs to evaluate whether they like or dislike commercials. 313 Constructs were elicited and based on individual grid analyses and correspondence analysis a reduced number of construct groups was identified. These construct groups ( contentness, entertainment, interesting, sociality, clearness, reality, emotionality, and tempo) show a measure of similarity to the seven Schlinger factors or dimensions. The individual constructs, which make up entertainment, sociality, emotionality, tempo and interesting, show high levels of correlation with advertisement liking. This finding suggests that advertisement liking involve more than pure entertainment. Phase two was more quantitative and consisted of analysing 382 viewer response profiles. A factor analysis of the 32 items, which make up the viewer response profile, resulted in seven factors. The first five factors (entertainment, confusion, relevant news, brand reinforcement and empathy) show similar factor loading to factor analytical studies done in the United State of America. The other two factors (familiarity and alienation) show different loading to the United States of America study but these differences could be explained given the nature of commercials tested (existing commercials and new commercial concepts) and the cross cultural nature of South African viewers. The Schlinger items were analysed in greater detail by investigating the role which type of commercial (existing versus new), product category and cultural target market play in liking of commercials. New concepts are proven to be more entertaining, creative and relevant. Zulu and Sotho viewers are likely to be more positively disposed towards television commercials while cosmetic, medicine, corporate and motor vehicle commercials are less entertaining than food and commercial commercials. Those Schlinger items, which best describe and predict commercials liking were determined by using cluster and multi dimensional scaling techniques. It is apparent from this analysis that likability is the extent to which the objective of entertainment, empathy or relevant news is achieved without confusion, alienation or familiarity. Cluster analysis furthermore suggests that a positive perception of an advertised brand predispose viewers to higher levels of commercial liking. Multi dimensional scaling suggest two dimensions explaining most of the Schlinger factor variance namely liking (positive of negative) and relevance. / Industrial and Organisational Psychology / D. Com. (Bedryfsielkunde)

Cette thèse, relevant de la problématique des avatars et des métaphores de la figure humaine et deses multiples représentations scéniques, interroge les créations contemporaines de la marionnette. Elle a pourpoint de départ la pratique de la marionnette et la place conférée à la figure dans les dispositifs scéniques.Fondés sur des confluences des figures animées et des images de synthèse, les dispositifs contemporains issusdes nouvelles techniques de l’image et du son ont permis de dépasser la structure traditionnelle de lamarionnette. A mi-chemin entre poupée et forme raffinée, la marionnette dépasse ses contours et ouvre vers denouvelles représentations scéniques : des ombres, des doubles virtuels, des avatars de synthèse, pouvant êtretransformés et évolués en temps réel. Toutes ses représentations posent la question de l’incarnation. Ainsi lafigure de l’avatar se présente comme un possible prolongement de la marionnette. Les outils technologiquespermettent une nouvelle manière de former, d’élaborer la figure. Ils offrent une infinie possibilité de ladédoubler, de la multiplier, de la répliquer. Dans ce geste répétitif la figure tend progressivement vers uneffacement de ses contours. Loin de la forme anthropomorphique, elle symbolise le plus souvent une idée, unconcept, un mot en jouant sur l’essence de la matière et les agencements plastiques d’objets et de matières.Quant aux possibles dédoublements de l’interprète réalisés grâce aux technologies de l’image et du son, lecorps vivant en chair et en os se démultiplie dans des figurations comme les ombres, les reflets et les doublesvirtuels. Ces derniers deviennent un indice, une icône de notre présence. La démultiplication spatiale etcorporelle de leur présence iconique fait scintiller les nombreux subterfuges d’une ruse scénique. Car cettenouvelle figure, construite par les jeux d’illusions et de leurres qu’autorise l’usage du numérique effaceprogressivement les contours traditionnels de la figure humaine en brouillant les pistes d’une identificationtangible. Ces nouvelles figures se présentent comme des images décalées et sont une véritable invitation àpenser l’absence et la présence, l’apparition et la disparition. La figure s’ouvre à une interprétation multiple etoffre une vision différée en interrogeant la place de l’humain dans notre société. Les dispositifs scéniques quiabritent ces figures deviennent une véritable iconostase pour leur déploiement. Espace d’une fiction du regard,la figure compose et décompose sans cesse ses contours en offrant son image à celui qui la regarde. Lespectateur est invité à vivre une expérience oculaire en le transformant en véritable acte de voir. / This thesis studies the problematics of avatars and metaphors of the human form and its manifoldstage representations; it questions contemporary ‘creation’ in the field of puppetry. The practice of puppetryand the place bestowed on the human form in staging devices are the starting point of the study. Located at theconvergence of animated figures and of computer graphics, contemporary staging devices that stem from newtechniques of sound and video have allowed us to surpass the traditional framework of the puppet. Halfwaybetween doll and refined figure, the puppet goes beyond its outline and opens the path towards new stagerepresentations; shadows and virtual doubles, CGI avatars, which can all be transformed and developed in realtime. All its representations beg the question of incarnation. Thus the face of the avatar is presented as apossible extension of the puppet. Technological tools allow new ways of devising and developing the face. Theyoffer infinite possibilities to divide the face, to multiply and replicate it. In this repetitive gesture, the facetends gradually to be effaced of its outlines. Far from the anthropomorphic figure, it symbolises here an ideamost often, a concept, a word that underscores the essence of the material and the visual arrangement of objectsand matter. As for the potential splitting of the performer achieved thanks to new technology in video andsound, the living boy in flesh and blood multiples as shadows, reflections and virtual doubles. The latterbecome a sign, an icon of our presence. Spatial and corporeal duplication of their iconic presence makes thenumerous subterfuges involved in a staging device sparkle. Because this new figure, built from simulatedreality games and digital lures, gradually erases the traditional contours of the human form by blurring thepaths to any tangible identification. These new forms are presented as staggered images and are a realinvitation to rethinking absence and presence, appearance and disappearance. The face/form is exposed tomultiple interpretations and offers a deferred vision by questioning the place of the human being in our society. Staging devices that shelter these forms become a true iconostasis for their demonstration. The face –the space belonging to the fiction of the gaze – incessantly makes and breaks its outlines by throwing up itsimage to those who watch him. The viewer is invited to undergo an ocular experience by transforming it into atrue act of seeing.

The aim of the diploma thesis is the robotization of a conventional milling machine to a CNC milling machine using a programmable logic controller. The theoretical part of the thesis contains a description of machine tools and industry 4.0, an overview of Optimum Maschinen and B&R Automation companies, including products, and a description of the G code programming language. At the beginning of the practical part, the selected hardware, its connection and tuning of motors are described. Furthermore, the practical part explains the method of motor control and processing of CNC programs in G code. The following chapters discuss the creation of industrial visualizations for machine control and digital twin for testing purposes. The conclusion describes the evaluation of the results and indicates the possibilities for future expansion of the machine and its implementation in an automated cell in the sense of industry 4.0.

Der Amazonas befindet sich im Wandel. Seine Regenwälder sind zunehmend durch die expandierende Landwirtschaft bedroht. Brandrodungen und die meist extensive Weidewirtschaft verantworten großflächige Ökosystemschäden und hohe Treibhausgasemissionen. Erdbeobachtungssysteme wie die Landsat und Sentinel-2 Satelliten ermöglichen eine großflächige Analyse dieser Entwicklungen und sind unerlässlich zur Evaluierung von Maßnahmen zum Schutze des Amazonas. Allerdings sind in den Kerntropen Fernerkundungsanalysen aufgrund des Bewölkungsgrades sehr herausfordernd. Diese Arbeit zielt daher auf eine verbesserte Erkennung landwirtschaftlicher Prozesse, wie sie an Entwaldungsfronten und speziell in der Region Novo Progresso, Pará, Brasilien, typisch sind. Dazu wurde zunächst der EO Time Series Explorer entwickelt, um verschiedene Dimensionen dichter Multisensorzeitserien interaktiv zur Erstellung von Referenzdaten in Wert zu setzen. Mit den Clear Observation Sequences (COS) wurde darauf basierend ein neuer Ansatz zur Erfassung hoch-dynamischer landwirtschaftlicher Prozesse entwickelt, etwa Feuer mit geringer Brandlast oder Bodenbearbeitungsmaßnahmen. Darauf aufbauend wurde schließlich der Landnutzungswandel in der Region Novo Progresso zwischen 2014 und 2020 untersucht. Die Ergebnisse zeigen einen alarmierenden Anstieg der Entwaldung und eine Zunahme landwirtschaftlicher Feuer seit der Präsidentschaft von Jair Bolsonaro. Differenziert nach Landnutzungszonen und Betriebsgrößen wird deutlich, dass Schutzgebiete weniger wirksam sind und insbesondere größere Landwirtschaftsbetriebe die Entwaldung vorantreiben. Diese Arbeit zeigt den hohen Wert einer synergetischen Nutzung unterschiedlicher Satellitenzeitserien für die fernerkundliche Analyse landwirtschaftlicher Prozesse. Eine weitere Verdichtung der Zeitserien mit räumlich und spektral höherauflösenden Sensoren bietet weiteres Verbesserungspotential bei der Beschreibung landwirtschaftlicher Dynamiken. / The Amazon is in transition, and its rainforests are increasingly threatened by agricultural expansion. A slash-and-burn agriculture and mostly extensive cattle grazing are responsible for large-scale ecosystem damage and high levels of greenhouse gas emission. Earth observation systems such as the Landsat and Sentinel-2 satellites enable large-scale analysis of these developments and are essential for evaluating measures to protect the Amazon. However, cloud cover makes remote sensing analysis challenging in the core tropics. The present work aims to improve the detection of agricultural processes typical of deforestation frontiers, focusing specifically on the Novo Progresso region, Pará, Brazil. To that end, the EO Time Series Explorer was developed to interactively visualize the different dimensions of dense multi-sensor time series and to create reference data. Based on this software tool, the Clear Observation Sequences (COS) approach was developed to capture highly dynamic agricultural processes such as low-load fires or tillage operations. Finally, the investigation of land-use changes in the Novo Progresso region between 2014 and 2020 shows an alarming increase in deforestation and agricultural fires since Jair Bolsonaro’s accession to the presidency. Analysis by land-use zone and property size shows that protected areas have become less effective and that larger properties are driving deforestation. This work demonstrates the value of synergistic use of satellite time series for remote sensing analysis of agricultural processes. Further densification of time series using higher spatial and spectral resolution sensors promises to further improve the description of agricultural dynamics.

No description available.

Cette thèse s’interroge sur le phénomène du jeune téléspectateur contemporain. Je questionne cette « réalité », qui fait l’objet de discours et de pratiques sociales au quotidien. L’idée de l’existence « objective » de l’enfant téléspectateur depuis l’avènement de la télévision est si fertile, qu’elle a même contribué au développement d’un sous-domaine de recherche en communication : la communication jeunesse. J’inclus également ce sous-domaine dans la problématique. Ce faisant, je tente d’esquisser une théorisation de l’enfant téléspectateur, en le comprenant comme une formation discursive et sociale. Suivant le point de vue de l’analyse de discours de Michel Foucault (1969), j’axe son étude en articulant deux éléments qui forment les objets sociaux : le régime de vérité et les formations discursives. Ainsi, je réfléchis au jeune téléspectateur comme objet de savoir et de vérité, et comme fruit d’un ensemble de formations discursives. J’ancre empiriquement le questionnement du jeune téléspectateur contemporain dans le Chili « post-1990 ». Je propose une approche méthodologique et analytique me permettant de rendre compte de l’articulation d’éléments hétérogènes qui participent au façonnement discursif et social de celui-ci. Cet outil exploratoire est « le rhizome », que j’emprunte à Gilles Deleuze et à Félix Guattari (1976). Le rhizome m’est utile pour rendre compte des multiples portes d’entrée dans la formation discursive de l’enfant téléspectateur, du déplacement comme chercheuse à l’intérieur de celle-ci, et des figures qui se forment par l’articulation du discours et des pratiques entreprises à son égard. Ce faisant, je propose une archive d’époque de l’enfant téléspectateur du Chili « post-1990 ». Dans celle-ci, je montre des modalités particulières de sa formation discursive et des figures hétéroclites de celui-ci qui ont émergé dans les analyses. Finalement, je présente un ensemble de pratiques discursives qui ont également fait surface dans les analyses. Ces pratiques emploient la figure de l’enfant téléspectateur pour instaurer discursivement d’autres « réalités », qui ne le concernent pas directement. M’appuyant sur Jean-Michel Berthelot (1992), notamment sur son concept d’« opérateur discursif », je qualifie ainsi ces pratiques observées. / This thesis examines the contemporary child television viewer phenomenon. I challenge this « reality » which is the subject of everyday life discourse and social practices. Since the advent of television, the notion of an « objective » existence of a child television viewer has been so fertile that it has even contributed to the development of a sub-domain in communication studies: Children, Youth and the Media. I examine this sub domain as well. The thesis attempts to outline a theoretical approach to the child television viewer, understood as a social and discursive formation. Following Michel Foucault’s (1969) analysis of discourse, the study articulates two of the elements that are involved in the social construction of objects: the regime of truth and the discursive formations. I consider the child television viewer as an object of knowledge and truth, and as the product of a set of discursive formations. I challenge on an empirical level this phenomenon in the « post-1990 » Chile, through a methodological and analytical approach that allows me to articulate the heterogeneous elements involved in the shaping of the child television viewer. This exploratory tool is the « rhizome », borrowed from Gilles Deleuze and Felix Guattari (1976). « Rhizome » allows me to enter through multiple gateways into discursive formations of the child television viewer. Once inside, as a researcher I move in multiple directions and see different modalities of the social construction happening therein. These modalities produce multiple figures of the child television viewer emerging from the articulation of the discourse and of the social practices. I suggest an Archive of the child television viewer in Chile « post-1990 », showing the specifics of the discursive formations and the assorted figures that have risen to surface throughout the rhizomatic process of research. Finally, I present a set of discursive practices that have also emerged from the analysis. These practices employ the figure of the child television viewer to discursively establish other « realities » that do not concern him/her directly. Borrowing from Jean-Michel Berthelot (1992), I name these practices « discursive operator ». / Esta tesis se interroga acerca del fenómeno del niño telespectador contemporáneo. Cuestiono esta « realidad », que a diario es objeto de discurso y de prácticas sociales. Desde el advenimiento de la televisión, la idea de la existencia « objetiva » del niño telespectador ha sido tan fértil, que contribuyó a desarrollar un sub-dominio particular de investigación en comunicaciones: niños, adolescentes y medios. Incluyo igualmente este subdominio en la problemática. El trabajo intenta esbozar una teorización sobre el niño telespectador, entendiéndolo como una formación discursiva y social. Siguiendo el punto de vista del análisis de discurso de Michel Foucault (1969), este estudio articula dos elementos que intervienen en la construcción social de los objetos: el régimen de verdad y las formaciones discursivas. Reflexiono sobre el niño telespectador como un objeto de saber y de verdad, fruto de un conjunto de formaciones discursivas. El análisis de la formación discursiva del niño telespectador se ancla empíricamente en el Chile « post-1990 ». Propongo un enfoque metodológico y analítico que permite mostrar la articulación de elementos heterogéneos que le dan forma discursiva y social. Este recurso de exploración es el « rizoma », inspirado de Gilles Deleuze y de Félix Guattari (1976). El rizoma permite dar cuenta de las múltiples puertas de entrada a la formación discursiva, del desplazamiento como investigadora en su interior y de las figuras de niño telespectador que se forman por la articulación del discurso con las prácticas desplegadas en su nombre. La tesis propone un Archivo de época del niño telespectador del Chile « post-1990 ». En este se muestran las modalidades particulares de su formación discursiva, así como las figuras heterogéneas de niño telespectador que emergieron de los análisis. Finalmente se presenta un conjunto de otras prácticas discursivas, igualmente observadas, que emplean al niño telespectador para instaurar discursivamente otras « realidades », que no lo conciernen directamente. Califico a estas prácticas a partir del concepto del « operador discursivo » de Jean-Michel Berthelot (1992).

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