As the world evolves into a media saturated environment, the focus of many studies have been the negative effects of media on children and adolescents. For at least the past two decades, researchers have explored how parental involvement in their child's media consumption can influence child outcomes. Parental mediation of media includes restrictive mediation, active mediation, and co-viewing. Three meta-analyses, one for each type of mediation, reviewed a total of 69 studies. Each analysis assessed the effectiveness of parental mediation of media on five pertinent child outcomes: media use, aggression, substance use, sexual behavior, and negative health outcomes. The overall results indicated small, but significant relationships between child outcomes and restrictive mediation (r+ = .07), active mediation (r+ = .01), and co-viewing (r+ = .09). Effects on certain child outcomes were stronger than others. Parents have the ability to mitigate some of the adverse effects through parental mediation of media by creating rules for media use: discussing character's choices and central themes and consuming media together. Finally, several gaps in the existing literature were identified and discussed.

就電視廣告對兒童行為的影響而言，過去的研究證據並不一致，頗多值得 爭議之處。本研究將過去研究所採用的主要變項，如年齡、收視行為、父 母順從情形及產品的類別等，探討電視廣告對兒童的意圖行為 (intended behavior)（例如購買的討論與慾望）及實際行為（例如購買 要求的提出與行為）的影響，目的在檢視這些變項對國內兒童消費行為的 解釋力。經由多階集群取樣法，本研究以集體施測之方式，訪問台北市三 個行政區中三所國民小學十二班，共 419位的三、六年級學生。獲得研究 結果﹕１．三、六年級兒童在「飲料」與「電動遊樂器」類產品上，所表 現的購買意圖，並無明顯的差異。但在「零食」與「玩具」類產品上，三 年級兒童的購買意圖則明顯地高於六年級兒童﹔２．在購買要求方面，三 年級兒童對「零食」、「飲料」及「玩具」等三類產品的購買要求，明顯 地高於六年級兒童。而在購買行為方面，三、六年級兒童僅在「玩具」類 產品上有明顯的差異，三年級兒童的購買行為高於六年級兒童。３．收視 時間愈長的兒童在「零食」、「飲料」及「玩具」等產品上，所表現的購 買意圖愈高。在購買要求方面，收視時間愈長的兒童，對「玩具」及「電 動遊樂器」的購買要求愈高。在購買行為方面，則不論是「零食」、「飲 料」、「玩具」或「電動遊樂器」等產品都與收視時間之長短成正比。其 中以「玩具」類產品，無論是在購買意圖、要求及行為方面，都與兒童的 收視時間成正相關。４．無論是在「零食」、「飲料」、「玩具」或「電 動遊樂器」等產品，父母的順從情形愈高，兒童的購買意圖與行為也就愈 高。綜合研究發現１至４之討論，就本研究問題而言，兒童的年齡、收視 時間與父母的順從情形和兒童的購買意圖與行為間之關係，是會受到電視 廣告產品類別的影響。

站在這個被廣電傳播實務者界定為「有線電視元年」的一九九五年，它也是台灣地區正式向「第四台」道別，邁向「有線電視」的分水嶺。在這樣一個時間點上，台灣地區的有線電視出現數量龐大的系統與頻道經營者，在競逐市場大餅。 對這個被台灣資訊產業估計平均每年將有五百億的有線電視產業而言，政府管理部門、傳播學界、有線電視的系統經營者、頻道商、廣告主，乃至於電視從業員，當然更重要的是觀眾，都史無前例的，有意識地或無意識地形塑這張正在改變中的電視版圖。未來的電視地圖形貌如何？端賴研究者對過去與現在現象了解的廣度與深度。 本研究針對有線電視新店經營區的觀眾，進行收視前（before viewing）、收視中（during viewing）與收視後（after viewing）等行為層面的探討。研究資料採量化與質化兼具方式為之。在量化資料方面，以電話方式成功訪問十五歲及以上的672位受訪者；在質化資料方面，則進行二場焦點團體，包括中壯年組與青少年組的討論。 研究有六項特別具有意義的發現與結論，摘要如下： 1.提供多頻道環境中，觀眾個人與收視行為因素，都趨向分裂與兩極化的証據。（詳見第四章第四節╱三的分析，以及第五章第一節一╱一）的結論） 2.初步驗証周密型與自動型等二個頻道搜尋行為的類型，已經在新店區的觀眾中形成。（詳見第四章第二節╱二的量化分析、第五節╱一的質化分析、第六節╱三的討論，以及本章第一節╱二╱二的研究結論） 3.彰顯觀眾擁有「頻道數」（CR）的自主性選擇收視意義與頻道資源運用的問題。（詳見表5-1-1，第四章第四節╱四的分析，第六節╱五╱一的討論與本章第一節╱三╱二的研究結論） 4.形成多頻道環境中，觀眾收視行為之間的關係係數。（詳見圖5-1） 5.支持新媒體結構因素（特指有線電視）是因，觀眾個人因素與收視行為的改變是果的理論觀點。（詳見第四章第一節與第四節的分析，第六節╱一╱五的討論與本章第一節╱四的研究結論） 6.為未來預測觀眾收視行為，找到一個可以適用的預測模式。（詳見表4-6-2，第四章第六節╱六的討論與本章╱四的研究結論） 此外，研究也對學術與實務等二方面，提供具體建議。 包括，對觀眾擁有「頻道數」（CR）的研究、多頻道情境（multichannel situation）、「頻道忠誠度」與節目類型忠誠度的問題、質化收視率（quantitative ratings）的嘗試等後續研究上的建議；以及對有線電視系統經營者有關頻道管理的問題；協助頻道商掌握小眾的特質；及廣告主對區域性觀眾特質的掌握等實務上的建議，皆提出應用上的說明。

To investigate eye-movement control in reading, the present thesis examined three phenomena related to the eyes’ landing position within words, (1) the optimal viewing position (OVP), (2) the preferred viewing location (PVL), and (3) the Fixation-Duration Inverted-Optimal Viewing Position (IOVP) Effect. Based on a corpus-analytical approach (Exp. 1), the influence of variables word length, launch site distance, and word frequency was systematically explored. In addition, five experimental manipulations were conducted. <br><br> First, word center was identified as the OVP, that is the position within a word where refixation probability is minimal. With increasing launch site distance, however, the OVP was found to move towards the word beginning. Several possible causes of refixations were discussed. The issue of refixation saccade programming was extensively investigated, suggesting that pre-planned and directly controlled refixation saccades coexist. Second, PVL curves, that is landing position distributions, show that the eyes are systematically deviated from the OVP, due to visuomotor constraints. By far the largest influence on mean and standard deviation of the Gaussian PVL curve was exhibited by launch site distance. Third, it was investigated how fixation durations vary as a function of landing position. The IOVP effect was replicated: Fixations located at word center are longer than those falling near the edges of a word. The effect of word frequency and/or launch site distance on the IOVP function mainly consisted in a vertical displacement of the curve. The Fixation-Duration IOVP effect is intriguing because word center (the OVP) would appear to be the best place to fixate and process a word. A critical part of the current work was devoted to investigate the origin of the effect. It was suggested that the IOVP effect arises as a consequence of mislocated fixations, i.e. fixations on unintended words, which are caused by saccadic errors. An algorithm for estimating the proportion of mislocated fixations from empirical data was developed, based on extrapolations of landing position distributions beyond word boundaries. As a new central theoretical claim it was suggested that a new saccade program is started immediately if the intended target word is missed. On average, this will lead to decreased durations for mislocated fixations. Because mislocated fixations were shown to be most prevalent at the beginning and end of words, the proposed mechanism generated the inverted U-shape for fixation durations when computed as a function of landing position. The proposed mechanism for generating the effect is generally compatible with both oculomotor and cognitive models of eye-movement control in reading. / Um Blickbewegungen beim Lesen zu untersuchen, wurden in der vorliegenden Dissertation drei Phänomene in Bezug auf die Landeposition des Auges innerhalb des Wortes betrachtet, (1) die optimale Blickposition (OVP), (2) die präferierte Blickposition (PVL) und (3) der Invertierte Optimale Blickpositionseffekt für Fixationsdauern (IOVP). In einem corpus-analytischen Ansatz (Exp. 1) wurde systematisch untersucht, wie die Variablen Wortlänge, Sakkadenstartdistanz und Wortfrequenz die Parameter der OVP-, PVL-, bzw. IOVP-Funktion beeinflussen. Des weiteren wurden fünf experimentelle Manipulationen durchgeführt. <br><br> Erstens, die Wortmitte wurde als OVP identifiziert, operationalisiert als die Buchstabenposition innerhalb eines Wort, an der die Refixationswahrscheinlichkeit minimal ist. Mit zunehmender Sakkadenstartdistanz verschob sich die OVP jedoch in Richtung Wortanfang. Verschiedene in Betracht kommende ursächliche Faktoren für Refixationen wurden diskutiert. Des weiteren wurden Fragen zur Programmierung von Refixationen untersucht, wobei die Ergebnisse nahe legen, dass vorgeplante und unmittelbar gesteuerte Refixationssakkaden koexistieren. Zweitens, Landepositionsverteilungen (PVL-Kurven) zeigen, dass die Augen systematisch von der OVP abweichen, was im Wesentlichen auf visuomotorische Faktoren zurückzuführen ist. Mittelwert und Standardverteilung der normalverteilten PVL-Kurven wurden v.a. von der Sakkadenstartdistanz beeinflusst. Als dritter Schwerpunkt wurde untersucht, wie Fixationsdauern als Funktion der Landeposition variieren. Der Invertierte Optimale Blickpositionseffekt wurde repliziert: In der Wortmitte lokalisierte Fixationen sind länger als solche, die sich an den Worträndern befinden. Der Effekt von Wortfrequenz bzw. Sakkadenstartdistanz auf die IOVP-Funktion zeigte sich im Wesentlichen in einer vertikalen Verschiebung der Kurve. Der Befund eines invertierten OVP-Effektes für Fixationsdauern ist kontraintuitiv, denn die Wortmitte (OVP) wird als optimaler Ort betrachtet, um ein Wort zu fixieren und zu verarbeiten. Ein wesentlicher Beitrag der vorliegenden Arbeit bestand darin, ursächliche Faktoren für den IOVP-Effekt zu identifizieren. Es wurde vorgeschlagen, dass der Effekt auf sog. fehlplazierte Fixationen, d.h. Fixationen auf nicht-intendierten Wörtern, zurückzuführen ist. Fehlplazierte Fixationen werden durch okulomotorische Fehler in der Sakkadenprogrammierung verursacht. Es wurde ein Algorithmus entwickelt, um den Anteil fehlplazierter Fixationen aus empirischen Lesedaten abzuschätzen, basierend auf Extrapolationen von Landepositionsverteilungen über die Wortgrenzen hinweg. Als zentrale theoretische Annahme wurde formuliert, dass ein neues potentiell korrigierendes Sakkadenprogramm unverzüglich gestartet wird, wenn das intendierte Zielwort verfehlt wurde. Dadurch verringert sich die mittlere Dauer von fehlplazierten Fixationen. Da fehlplazierte Fixationen am häufigsten am Wortanfang und am Wortende auftreten, generierte der vorgeschlagene Mechanismus die invertierte U-Form für Fixationsdauern als Funktion der Landeposition. Der Mechanismus, der – gemäß der hier entwickelten Argumentation – dem IOVP-Effekt zugrunde liegt, ist prinzipiell sowohl mit okulomotorischen als auch mit kognitiven Theorien der Blicksteuerung beim Lesen vereinbar.

Obiettivo della tesi è stato quello di ricostruire una storia culturale della televisione italiana delle origini, concentrandosi sui percorsi attraverso i quali il medium è diventato parte integrante delle routine quotidiane del suo primo pubblico, cercando di dare senso a come la prima audience del piccolo schermo abbia sperimentato l’arrivo della televisione nello spazio della casa, nel corso degli anni di istituzionalizzazione del medium in Italia (1954-1960). Dopo una ricognizione della letteratura scientifica sul tema della domestication dei mezzi di comunicazione, della biografia culturale degli oggetti tecnici e dell’analisi storica delle “culture di visione” della tv, la seconda sezione della tesi prende in esame come il sistema dei media popolari (il discorso pubblicitario, il dibattito pubblico sulla stampa popolare, i paratesti aziendali della Rai) abbia attribuito significati alla televisione, "insegnando" al suo primo pubblico come collocarla nello spazio della casa. La terza sezione della tesi è dedicata a una ricostruzione storica del primo consumo televisivo domestico, svolta attraverso una ricerca etnografica condotta con venti interviste a testimoni che hanno vissuto in prima persona la prima diffusione dei ricevitori e la loro prima collocazione nello spazio della casa. / This dissertation is aimed to outline a cultural history of early Italian television, focusing on the pattern by which TV became part of its first audience’s daily routines, and trying to give sense of how the first public of the small screen experienced the arrival of the television in the space of their homes, in the years of institutionalisation of the new medium (1954-1960). After an overview of the scientific literature that has dealt with the topic of “media domestication”, cultural biography of technical objects, and historical analysis of television’s culture of viewing, the second section of the thesis examines how the system of popular media (mainly advertising, popular press, and broadcaster’s house organs) ascribed meanings to television as a domestic medium and advised its public how to use it. A third section of the dissertation is devoted to understanding the television viewing and consumption in historical perspective, through a ethnographic research developed with twenty in-depth interviews to witnesses that participated directly in the first diffusion and domestication of the TV sets in Italy.

Abstract   Authors:                           Emmy Davidsson and Fredrik Doohan Pehrman Title:                                  What’s on TV tonight? Swedish title:                  Vad är det på tv ikväll? Level:                                BA Thesis in Media and Communication Studies Language:                                             Swedish Number of pages:          53   Aim: The purpose of this study is to chart and explain Swedish high school students’ TV viewing and their attitude towards the TV medium. The aim is also to discuss the students’ views on news and citizenship. The purpose is also to, through the term habitus, explore how the background of a person reflects on their choice of TV content, in what way they watch television and on their purpose of TV viewing. What similarities and differences can we discover in different groups’ TV viewing and attitude towards the TV medium and how can these similarities and differences be explained? Method: The used method is a qualitative method of investigation, divided in three parts. The first part is a TV diary, in which the respondents document different aspects of their TV viewing during a week. The second part of the method is focus groups and the last part is a survey concerning the background environment of the respondents.   Main result: In our study we have determined that Swedish high school students still, in some aspects, watch television in a traditional manner. They mainly watch entertaining content, but the varieties of entertainment vary depending on habitus, especially gender. We have also discovered that TV viewing is fragmented, but also formalized depending on which level; general, group or individual level, we choose to study. The main aspect of habitus that influence the behavior concerning TV viewing is gender, but also other aspects of habitus, for example education and place to live. We have studied a rather homogenous group of students, which result in differences in attitude towards the TV medium, mostly based on gender. However, we have also discovered subtleties in attitude between the different groups of respondents depending on lifestyle and taste. The results concerning TV use and attitude towards television can not alone determine if Swedish high school students are enlightened members of society or not. However, through habitus and the influence of parenthood and schooling, the students gain opportunities to create habits and a behavior surrounding news consumption that will make them take their social responsibility later in life. Program:                          The Program for Information and Communication Studies Location:                          Linnaeus University, Växjö Period:                              March – May 2012 Assessor:                        Magnus Eriksson Examinor:                        Malin Hjorth   Keywords:                       media use · TV · TV viewing · habitus · capital · identity · taste ·                           lifestyle · social responsibility · individualization · fragmentation

The aim of this present study was to investigate the effects of ambivalent sexism, locus of control, empathy and belief in a just world on attitudes toward rape victims. In order to do so, 425 graduate and undergraduate students at Middle East Technical University participated in the current study. The results of the study indicated that hostile sexism (&amp / #946 / = .47), empathy (&amp / #946 / = -.28), education (&amp / #946 / = -.22), internal locus of control (&amp / #946 / = .10), belief in a just world (&amp / #946 / = .10), benevolent sexism (&amp / #946 / = .10) and income (&amp / #946 / = -.09) had a significant contribution on the participants&rsquo / unfavorable attitudes toward rape victims after eliminating the effects of age and education. Additional analysis further revealed that male participants demonstrated significantly more endorsement on unfavorable attitudes toward rape victims than female participants. The main effect of pornography viewing on attitudes toward rape victims was not found significant. However, the results further indicated that there was a significant interaction effect among gender, pornography viewing and empathy. That is, in the high victim empathy condition male participants who had been exposed to pornography scored significantly higher on unfavorable attitudes toward rape victims than those who had never been exposed to it. On the other hand, in the high empathy condition, female participants who viewed pornography showed less endorsement on unfavorable attitudes toward rape victims than those who never viewed pornography. Finally, the results of the study indicated that the interaction effects of pornography viewing and hostile sexism were significant. Indeed, in the high hostile sexism condition, both male and female participants who were exposed to pornography showed significantly greater endorsement on unfavorable attitudes toward rape victims when compared to those who did not watch pornography. The major contributions of this thesis are (1) investigating some of the effects of important demographic variables such as age, education and income, (2) comparing the unique contributions of locus of control, empathy, belief in a just world, hostile and benevolent sexism with a hierarchical regression analysis, and (3) showing the interaction effects of some variables like gender, pornography viewing, levels of empathy and hostile sexism on participants&rsquo / attitudes toward rape victims.

De senaste åren har små barns användning av digitala medier ökat och det finns idag en uppsjö av medieinnehåll riktat till denna målgrupp. Forskning visar dock att små barn har svårt att generalisera lärande från skärmar till verkligheten. Samtittande (co-viewing) med vuxna och verbala ledtrådar har föreslagits kunna underlätta lärandet men forskningen är ännu begränsad. Föreliggande studie syftade därför till att undersöka huruvida instruerad co-viewing har någon inverkan på deklarativt minne, mätt med fördröjd imitation, hos barn vid två års ålder. För att undersöka detta användes experimentell mellangruppsdesign, där deltagarna (N = 35) tillsammans med sina föräldrar fick se en film på surfplatta där uppgifter ur ett deklarativt minnestest (FIT-24) presenterades. Deltagarna randomiserades till experimentgrupp, där föräldrarna instruerades att beskriva händelseförloppet i filmen för barnen, och kontrollgrupp, där föräldrarna instruerades att titta på filmen tillsammans med barnen såsom de skulle gjort hemma. Efter en fördröjning testades vad barnen lärt sig av minnesuppgifterna. Utöver minnestestet genomfördes screening av utvecklingsnivå (Bayley-S).Resultatet visade ingen signifikant skillnad i deklarativt minne mellan betingelserna. Däremot återfanns positiva signifikanta samband mellan deklarativt minne och generell utveckling samt språklig förmåga. Därtill klarade deltagare i båda grupperna att generalisera kunskap från surfplatta till verklighet, vilket visar att tvååriga barn kan lära sig från digitala medier.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A busca do homem pela reprodução do movimento através das imagens é antiga. Tão antiga que é difícil fixar uma data para marcar a invenção do cinema. Para a indústria cinematográfica comercial, no entanto, esse marco costuma ser definitivo: o dia 28 de dezembro de 1895, por ocasião da primeira exibição pública paga de filmes dos Irmãos Lumiére com seu cinematógrafo. Mas o que parece ser inaugurado aí não é simplesmente uma técnica ilusória de reprodução do movimento, e sim um conceito de espetáculo que se sedimentou durante os dez ou vinte anos seguintes. Graças a interesses econômicos e ideológicos, o cinema passou de um exercício de escrita do movimento com a luz, para uma gramática muito bem sedimentada e padronizada. Junto com esse modelo de narrativa, determinou-se também a situação-cinema. Nela, o público é submetido a uma arquitetura de espectação estanque, que favorece a inatividade motora e a concentração na obra em detrimento da interação social e de uma postura participativa do espectador. Desde o surgimento da televisão e da videografia, porém, essa situação-cinema vem sendo contestada. Com essas novas tecnologias, seguidas pelo advento dos aparatos digitais, o audiovisual deixou de estar confinado às salas escuras, poltronas confortáveis e telas brancas. Todo e qualquer ambiente passou a ser uma paisagem de exibição audiovisual em potencial. Essa ruptura, por suas características estéticas, sociais, culturais, acabou encontrando na arte um campo de expansão. Ao longo dos últimos sessenta anos, a quantidade de aparelhos audiovisuais em circulação, portáteis, interativos só cresce. O resultado é que o audiovisual se tornou nosso principal meio para trocas de informações de toda ordem textual, visual, sonora etc. No seu dia-a-dia, o ser humano transita velozmente entre espaço físico e ciberespaço sem qualquer constrangimento. A materialidade é sempre um estímulo para acessar a virtualidade e vice-versa. Diante desse contexto cultural contemporâneo, de onipresença do audiovisual e de permanente troca entre essas duas janelas, é que este trabalho se posiciona. A busca aqui é por desvendar o ponto em que as duas dimensões de espaço e tempo se tangenciam e se mesclam. Deixam de ser ou para se tornar e. O pano de fundo para esse mergulho é justamente um exercício de exploração da potencialidade estética e criativa da exibição audiovisual entre todos os seus elementos constitutivos, incluindo aí o espectador participador. Assim se criam os cinemas para paisagens / The human quest for the reproduction of movement through images is old. It is so old that it is difficult to establish a date to herald the 'invention' of cinema. For the commercial film industry, however, this landmark is quite definitive: the 28th December 1895, which marks the first paid public exhibition of Lumiere Brothers' movies. What seemed to be inaugurated at that time is not simply an illusory technique to reproduce movement, but also a spectacle concept which was paved during the following ten or twenty years. As a result of economical and ideological issues, cinema migrated from being a practice of 'writing movement with light' to become a well established and standardised medium. Along with this narrative, a "cinema situation" was also born. Using this model, the audience is subjected to a fixed screening architecture, which favours motor inactivity and focus on the screen rather than on the social interaction of the spectators and their active role. Since the beginning of television and videography, this cinema situation has been contested. With those technologies as well as digital devices, audiovisual was no longer restricted to dark rooms, comfortable seats and white screens. Any and every environment became a potential audiovisual exhibition environment. This breakthrough found in the arts a promising field due to its aesthetic, social, cultural appeals. Throughout the last 60 years, the amount of audiovisual gadgets that are portable and interactive has increased. As a result, audiovisual has become the most used medium to exchange information of all sorts textual, visual, audio etc. On a daily basis, human beings move fast and comfortably between material life and cyberspace. Material reality is always an incentive to reach virtual reality and vice-versa. This work is based on this contemporary cultural context, one of audiovisual omnipresence and permanent exchange between these two windows. The search is to unveil the point where these two ways of experiencing space and time touch each other and mix together; how they evolve from being excludent to become complementar. The background for this quest explores the use of the aesthetic and creative potentialities in audiovisual exhibitions and all its inner elements, which includes an active spectator. This is how cinemas for environments are created

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A busca do homem pela reprodução do movimento através das imagens é antiga. Tão antiga que é difícil fixar uma data para marcar a invenção do cinema. Para a indústria cinematográfica comercial, no entanto, esse marco costuma ser definitivo: o dia 28 de dezembro de 1895, por ocasião da primeira exibição pública paga de filmes dos Irmãos Lumiére com seu cinematógrafo. Mas o que parece ser inaugurado aí não é simplesmente uma técnica ilusória de reprodução do movimento, e sim um conceito de espetáculo que se sedimentou durante os dez ou vinte anos seguintes. Graças a interesses econômicos e ideológicos, o cinema passou de um exercício de escrita do movimento com a luz, para uma gramática muito bem sedimentada e padronizada. Junto com esse modelo de narrativa, determinou-se também a situação-cinema. Nela, o público é submetido a uma arquitetura de espectação estanque, que favorece a inatividade motora e a concentração na obra em detrimento da interação social e de uma postura participativa do espectador. Desde o surgimento da televisão e da videografia, porém, essa situação-cinema vem sendo contestada. Com essas novas tecnologias, seguidas pelo advento dos aparatos digitais, o audiovisual deixou de estar confinado às salas escuras, poltronas confortáveis e telas brancas. Todo e qualquer ambiente passou a ser uma paisagem de exibição audiovisual em potencial. Essa ruptura, por suas características estéticas, sociais, culturais, acabou encontrando na arte um campo de expansão. Ao longo dos últimos sessenta anos, a quantidade de aparelhos audiovisuais em circulação, portáteis, interativos só cresce. O resultado é que o audiovisual se tornou nosso principal meio para trocas de informações de toda ordem textual, visual, sonora etc. No seu dia-a-dia, o ser humano transita velozmente entre espaço físico e ciberespaço sem qualquer constrangimento. A materialidade é sempre um estímulo para acessar a virtualidade e vice-versa. Diante desse contexto cultural contemporâneo, de onipresença do audiovisual e de permanente troca entre essas duas janelas, é que este trabalho se posiciona. A busca aqui é por desvendar o ponto em que as duas dimensões de espaço e tempo se tangenciam e se mesclam. Deixam de ser ou para se tornar e. O pano de fundo para esse mergulho é justamente um exercício de exploração da potencialidade estética e criativa da exibição audiovisual entre todos os seus elementos constitutivos, incluindo aí o espectador participador. Assim se criam os cinemas para paisagens / The human quest for the reproduction of movement through images is old. It is so old that it is difficult to establish a date to herald the 'invention' of cinema. For the commercial film industry, however, this landmark is quite definitive: the 28th December 1895, which marks the first paid public exhibition of Lumiere Brothers' movies. What seemed to be inaugurated at that time is not simply an illusory technique to reproduce movement, but also a spectacle concept which was paved during the following ten or twenty years. As a result of economical and ideological issues, cinema migrated from being a practice of 'writing movement with light' to become a well established and standardised medium. Along with this narrative, a "cinema situation" was also born. Using this model, the audience is subjected to a fixed screening architecture, which favours motor inactivity and focus on the screen rather than on the social interaction of the spectators and their active role. Since the beginning of television and videography, this cinema situation has been contested. With those technologies as well as digital devices, audiovisual was no longer restricted to dark rooms, comfortable seats and white screens. Any and every environment became a potential audiovisual exhibition environment. This breakthrough found in the arts a promising field due to its aesthetic, social, cultural appeals. Throughout the last 60 years, the amount of audiovisual gadgets that are portable and interactive has increased. As a result, audiovisual has become the most used medium to exchange information of all sorts textual, visual, audio etc. On a daily basis, human beings move fast and comfortably between material life and cyberspace. Material reality is always an incentive to reach virtual reality and vice-versa. This work is based on this contemporary cultural context, one of audiovisual omnipresence and permanent exchange between these two windows. The search is to unveil the point where these two ways of experiencing space and time touch each other and mix together; how they evolve from being excludent to become complementar. The background for this quest explores the use of the aesthetic and creative potentialities in audiovisual exhibitions and all its inner elements, which includes an active spectator. This is how cinemas for environments are created