Educational Digital Libraries (DLs) are complex information systems which are designed to support individuals' information needs and information seeking behavior. To have a broad impact on the communities in education and to serve for a long period, DLs need to structure and organize the resources in a way that facilitates the dissemination and the reuse of resources. Such a digital library should meet defined quality dimensions in the 5S (Societies, Scenarios, Spaces, Structures, Streams) framework - including completeness, consistency, efficiency, extensibility, and reliability - to ensure that a good quality DL is built. In this research, we addressed both external and internal quality aspects of DLs. For internal qualities, we focused on completeness and consistency of the collection, catalog, and repository. We developed an application pipeline to acquire user-generated computing-related resources from YouTube and SlideShare for an educational DL. We applied machine learning techniques to transfer what we learned from the ACM Digital Library dataset. We built classifiers to catalog resources according to the ACM Computing Classification System from the two new domains that were evaluated using Amazon Mechanical Turk. For external qualities, we focused on efficiency, scalability, and reliability in DL services. We proposed cloud-based designs and applications to ensure and improve these qualities in DL services using cloud computing. The experimental results show that our proposed methods are promising for enhancing and enriching an educational digital library. This work received support from ACM, as well as the National Science Foundation under Grant Numbers DUE-0836940, DUE-0937863, and DUE-0840719, and IMLS LG-71-16-0037-16. / Ph. D.

Actualmente es muy difícil que alguien no haya visto algún videotutorial en YouTube, ya no solo se puede hablar de esta aplicación como un medio en el cual las personas reproducen cualquier video para distraerse. Se trata de una gran videoteca de temas variados, muy útiles para las diferentes disciplinas en el campo de la educación. Para el desarrollo del presente trabajo se formuló el siguiente problema de investigación: ¿Cómo influye el uso de los videotutoriales en el rendimiento académico de los estudiantes de pregrado en una universidad privada de Huancayo? El objetivo de la presente investigación fue determinar la influencia de los videotutoriales en el rendimiento académico de los estudiantes de pregrado en una universidad privada de Huancayo. Para el desarrollo del estudio se aplicó un diseño metodológico cuasi-experimental post-test con grupos de control y experimental, en donde participaron en total 40 alumnos, 20 por cada grupo. De este modo, solo se aplicó el uso de videotutoriales realizados por el propio docente a través de YouTube al grupo experimental. Para la recopilación de la información se trabajó con dos instrumentos, una rúbrica de evaluación y una guía de entrevistas a profundidad. Los resultados obtenidos fueron significativos, el grupo de control obtuvo una calificación promedio de 13.2; mientras que el grupo experimental, 15.2. Además, los propios testimonios de los entrevistados en esta investigación revelaron que los videotutoriales inciden de manera positiva en sus aprendizajes y en su rendimiento académico. / Tesis

The use of artificial intelligence (AI), especially ChatGPT, has increased exponentially in the past years, and it can be seen how AI-based tools are being used in several fields, including education. The literature on AI on education (AIEd), how it has been used, its potential uses, opportunities and challenges were reviewed as well as the literature on sentiment analysis on social media to evaluate the best approach. Since education might face notorious changes due to this technology, assessing how people feel about this potential change in the paradigm is essential. Sentiment analysis on YouTube comments of videos related to ChatGPT, the most popular AI tool for education across learners and educators, was performed. It was found that 62.1% of thes ample had a positive feeling regarding this technology for educational purposes, whereas 19.4% had a negative sentiment and 18.5% were neutral. To contribute to the literature on sentiment analysis of YouTube comments, the two most used and best-performing algorithms were used for this task: Naive Bayes and Support Vector Machine. The results show that the first algorithm had a 61.30% accuracy, whereas SVM had a 71.79%.

Listan över influerare som har gjort skönhetsingrepp kan göras lång. För att nämna ett exempel har Bianca Ingrosso med ett följarantal på 343 000 på Youtube talat öppet om att hon gjort lipfillers (Ingrosso, 2020). Dessa inlägg där influerare talar om hur de korrigerar sin kropp i kombination med att de unga är i majoritet på internet och sociala medier (Svenskarna och internet 2019) ligger till grund för vår vilja att genomföra denna undersökning. Syftet med denna studie är att undersöka hur influerares reklam och framställning av skönhetsingrepp kan skapa betydelse för hur unga kvinnor ser på den egna kroppen. För att genomföra studien har vi använt oss av sex stycken kvalitativa intervjuer med kvinnor i åldrarna 15–17 år. Intervjuerna har spelats in och transkriberats och materialet har sedan analyserats för att besvara våra frågeställningar. Utifrån våra intervjuer kan vi se att influerares sätt att tala om och göra reklam för skönhetsingrepp har betydelse för unga kvinnors attityder till den egna kroppen. Några av respondenterna har även uttryckt att de blivit osäkra gällande sin egen kropp efter att ha sett inlägg gällande skönhetsingrepp från en influerare. Vi kan tydligt se att respondenterna tror att unga kvinnor är den grupp som påverkas mest av influerares framställning av skönhetsingrepp. Intervjuerna visar att respondenterna tar del av ett dominerande skönhetsideal på sociala medier och de beskriver idealet som att man ska vara smal, lång och vacker. Vi kan tydligt se, genom de analyserade intervjuerna, att de unga kvinnorna som deltog i denna studie är kritiska till influerare som talar om och gör reklam för skönhetsingrepp, då de tycker att det uppmanar andra till att korrigera sin kropp. Trots kritiken så spelar influerare en stor roll i de unga kvinnornas liv och de uttrycker att de får inspiration av influerare gällande var och vad man äter, hur man klär sig och hur man tränar. Vi kan därmed se en viss ambivalens i respondenternas svar då de följer specifika influerare samtidigt som de riktar kritik gentemot dessa. / The list of influencers who has had cosmetic procedures done can be made long. To mention one example, Bianca Ingrosso with 343 000 followers on Youtube, has spoken openly about her lip fillers (Ingrosso 2020). These types of posts, where influencers talk about how they correct their body, in combination with the fact that young people are a majority of the internet and social media users (Svenskarna och internet 2019) forms the basis of our motivation to conduct this study. This study aims to analyze whether, and if so, how influencers advertising and speech about cosmetic procedures contribute in creating meaning regarding how young women view their own body. This study was conducted with six qualitative interviews, with women in age 15-17. The interviews have been recorded and transcribed and the material has been analyzed to answer our research questions. Throughout our analyzed interviews can we see that influencers' speech and advertising about cosmetic procedures are meaningful regarding young women's attitudes to their own body. Some of the respondents expressed that they felt insecure about their own body after seeing an influencer talk about cosmetic procedures. We can also see that the respondents think that young women as a group of people are affected by influencers' opinions about cosmetic procedures. In the interviews, we can also see that the respondents take part in constructing a dominating beauty ideal on social media and they define the ideal as being skinny, tall and beautiful. Clearly the young women who took part in this study are critical of how influencers talk and do commercials about cosmetic procedures, they think influencers tell others to correct their body. Despite the criticism, the young women in this study are still inspired by influencers, regarding where and what they eat, how they dress and how they work out. We can clearly see some ambivalence in the way the respondents answer as they follow specific influencers while they also are criticizing them.

El propósito de esta investigación es estudiar las estrategias multimediales en seis diferentes vídeos educativos de YouTube que se dirigen a aprendices de español como lengua extranjera. Con este fin, la investigación se basa en la teoría cognitiva del aprendizaje multimedial (TCAM) y diez principios postulados por Mayer (2008) que sirven para mejorar el diseño de mensajes instruccionales multimediales como vídeos educativos. A partir de las preguntas de investigación el propósito es averiguar si los vídeos estudiados siguen los principios en concordancia con la TCAM y si se utilizan diferentes estrategias para cumplir con cada principio. La metodología es cualitativa y consiste en un análisis interpretativo de los vídeos y situaciones concretas de los mismos. Las observaciones muestran que los vídeos no siguen todos los principios y por lo demás se constata que ninguno de los vídeos cumple con los principios de redundancia y modalidad puesto que todos contienen texto añadido. Asimismo, se observa que es posible llevar a la práctica varias estrategias para implementar cada principio. En cuanto a estudios futuros se sugiere que se realizan investigaciones sobre cómo aquellas estrategias afectan a los aprendices en un contexto formal, es decir, en el aula. / The purpose of this essay is to study the multimedia strategies in six different educational videos on YouTube that are made for learners of Spanish as a foreign language. To this end, the study focuses on the cognitive theory of multimedia learning (CTML) and ten principles postulated by Mayer (2008) that serve to improve the design of multimedia instructional messages, for example in educational videos. Based on the research questions, the purpose is to find out if the videos follow the principles in accordance with the CTML and if different strategies can be used to comply with each principle. The methodology is qualitative and consists of interpretative analysis of the videos and specific situations. The observations show that the videos do not follow all the principles and that none of the videos comply with the principles of redundancy and modality, since they all contain added text. Likewise, the study verifies that it is possible to put into practice several strategies to implement each principle. Regarding future studies, it is suggested that research on how those strategies affect learners in a formal context, that is, in the classroom, are carried out.

Music videos have been published on YouTube since the site’s creation in 2005. However, on-demand subtitles for music videos are a relatively recent phenomenon. As fans can now understand lyrics in a language that is not their own, by using translated subtitles, artists have the possibility of reaching a wider international audience than ever. This qualitative study aims to fill a gap in translation studies by examining the translation of French song lyrics into English in the subtitles of music videos on YouTube. The study poses the following questions: how are specific linguistic features that are characteristic of song lyrics translated in the subtitles of music videos? What is the overall effect of these translations – is there a loss of meaning or of style once the lyrics have been translated? What are the particularities of this medium of translation?  The corpus consists of 14 music videos published on YouTube within the last decade. All 14 pop/hip-hop songs examined are performed in French and subtitled in English. The study gives an overview of the translation techniques used in the English subtitles on French music videos, by examining both the methods used to translate songs as well as the strategies used by subtitlers to translate specific linguistic features. The linguistic features examined through comparative text analysis are phonetic (assonance, alliteration, rhyme, and language play), socio-cultural (linguistic register, cultural references, and idiomatic expressions including slang), and grammatical.  This thesis begins with an interrogation of previous research on audiovisual and song translation, including an examination of taxonomies of subtitling strategies. These taxonomies are applied to the under-examined context of YouTube music videos, following the paradigm of Descriptive Translation Studies.  Through a descriptive analysis of the pairs of source-language and target-language linguistic features, the study found that translation strategies were varied, and could result in a tension between the prioritisation of stylistic elements over the original meaning of the lyrics. The results confirmed a lack of standardised conventions for subtitled translations on YouTube, and certain markers of this digital, community-oriented medium were present, where they might not be found in more conventional arenas of audiovisual translation.

The overall purpose of this essay, “‘I really hope you guys are enjoying this. Thank you so much for watching!’ - a qualitative and quantitative study of the interaction between YouTubers and their audience", is to study how YouTubers that play and comment video games interact with their audience, what kind of response these YouTubers receive and the interaction between viewers and fans in these YouTubers comment sections. This essay also studies if there is a difference between the response female and male YouTubers receive. The study is based on theories about fan culture, participation culture, collective intelligence, feminism and gender. A quantitative content analysis has been used to analyze 600 comments on six YouTube videos uploaded by six different YouTubers. The purpose of the quantitative analysis was to see what content of the comments most often occur as well as if the comment showed a positive, negative or neutral view of the YouTuber. The result of the quantitative analysis was used as a base for a qualitative critical discourse analysis, which also studied how the YouTubers behaved in the videos. The results of this study showed that the YouTubers mostly received positive comments about their personalities and their YouTube channel. They mostly received negative comments about the way they play the game. The female YouTubers received more negative comments than the male YouTubers, who in turn received more positive comments. The study also showed that YouTubers interact by talking directly to the audience and looking into the camera, by using the word “we” when talking about how they play the game as if they are playing with the audience, by asking the audience questions and by answering comments that the YouTubers have received. The YouTubers engage their audience by using strong expressions and by playing the game during a livestream. The YouTubers’ fans engage and interact by showing appreciation of the YouTubers and defend the YouTubers when they receive negative comments in the comment section of their videos. These ways which YouTubers interact with and engage their audience can be seen as part of a discourse about interaction and engagement online.

Web2.0締造了許多創業神話與熱潮，但是往往能夠迅速火紅的網站鳳毛麟角，因此本研究以網際網路史以來使用者擴散最快的網站- YouTube做為核心個案，共12個研究個案，研究兩個問題： 1. YouTube使用者能迅速擴散、人氣起飛的原因為何？ 2. 類似的概念許多影音分享網站比YouTube先做、有的和YouTube同時做，為何是YouTube第一個吃下市場，而非所謂有先進者優勢的創新公司？網路是服務複製十分快速的產業，面對後起者的大企業挾金彈攻擊模仿，YouTube為何仍能屹立不搖？ 早在1997年，在頻寬成本都還很高的時候，ifilm就已經開始了線上影片上傳的服務，後續也推出免費上傳影片。Break(1998) 也以主打男性幽默，累積了很高的影片數量，然而當時相關環境卻還不成熟，部落格和線上相簿分享都不普遍。。在2003~ 2005年間，同時有Metacafe(2003)、Grouper(2004)、Sharkle(2004)、Vimeo (2004)、Veoh (2005)、Revver (2005)等影音分享網站各自以精緻影評、P2P、藝術取性、利潤共享等概念切入市場。從YouTube(2005.2)的成長可看到一段不斷嘗試錯誤的過程，從一開始主打美女影片概念、「你的數位儲藏庫」、「上傳、標籤並與世界分享你的影片」、最後出現富有Web2.0精神、彰顯自我的「Broadcast your self」，Slogan改了四次，使用者介面設計也有大幅的改變，程式上也對處理遽增的流量做了大量調整。 資源豐富的大公司Yahoo! 在面對YouTube的成長無所知覺，堅守影片搜尋，錯失先機；而Google雖然比YouTube早推出，但卻仍從搜尋出發，並且對使用者上傳有嚴格的限制，歷經轉型線上影片商店失敗，最後以16.5億美金收購YouTube收場(2006.11)。YouTube發展出「嵌入影片」的功能 (2005.6)，使用者以病毒式擴散，MySpace成為其流量的主要來源 (超過20%)，引發MySpace自家推出MySpace video (2006)，誓言複製一個YouTube。但YouTube腳步並未因為複製而停下，隨著創意影片越來越多，持續針對使用者需求開發新功能，不斷快速設計、測試與修改，YouTube是與使用者共同開發、一同成長，成為YouTube魅力所在。 本研究發現：（一）在嶄新的產業或原創的領域中，學習對象並非專家或權威，而是市場。對於願景的堅持，不斷的針對市場修改，才是持續成長的原因。（二）連結比產能重要，應同時啟動網絡效應與間接網路效應：找到巨人的肩膀，有效利用外部資源，專注自己的核心（三）網路產業複製迅速，先進者難有優勢。優勢來自於企業能夠快速跟上環境脈動的反應力和市場觀察力。並且從利基市場出發，與使用者共同演化完整商品（四）草根策略：大量試驗以聆聽使用者的聲音，速度比正確重要，追求「夠好」而非「最好」，培養能讓創新不斷生長出來的土壤。（五）如果不能有效的輸入知識，核心能力=核心僵固。 / “Web2.0” creates lots of entrepreneur legends and becomes a new trend. But only few of the Web 2.0 websites can grow and become very popular. Therefore, this study picks “YouTube”, the fastest growing website in the Internet history as its core case, and it includes 12 study subjects in total. The two research questions are listed below. 1. Why did YouTube grow so fast? 2. The concept of video sharing which YouTube provided appeared frequently. Some of the websites started their service first; some of them did similar things at the same time. Why not the other competitors who had first mover advantage could win, but YouTube won? One of the characteristics of Internet Industry is “easy to copy”. When facing the competition of big companies which duplicate their idea and attacked with abundant resources, why did YouTube still survive? Ifilm (1997) started its online video sharing business when the cost of bandwidth was still very high. And it served online videos for free afterwards. Break (1998) featured male’s humor, attracted a large number of videos. However, the related environment was not ready. Blog and online photo sharing were not popular at that time. In 2003 to 2005, lots of similar competitors such as Metacafe (2003), Grouper(2004), Sharkle(2004), Vimeo (2004), Veoh (2005), and Revver (2005) established. Some of them used P2P technology; some of them had great editor reviews, and the others provided revenue sharing model. On the other hand, YouTube’s growth came from continuous try-and-error. It failed to be a hotties video sharing website in the begining, and then tried to be “Your Digital Repository”, “Upload, Tag and Share Your Video Worldwide”, and now positions itself as a website for “broadcast yourself” which represents the spirit of Web 2.0. The slogan of YouTube has changed for four times, and the user interface has also changed dramatically. When facing increasing users and videos, YouTube tuned their program very often as well. Yahoo! lost the timing of catching up. Because it stayed in its core capability- search. Although Google video got online a little bit earlier than YouTube, it still started from video search. Moreover, the upload policy is too strict. Google ended up with acquiring YouTube for 1.65 billion dollars after the failure of operating an online video store (2006.11). YouTube developed “Embed” feature and caused a viral spread. MySpace became its main upstream (over 20%). That made myspace build its own “MySpace video” service and vowed to duplicate a similar service as YouTube. Neverthless, YouTube was not stopped by MySpace’s reaction. As creative videos became more and more, YouTube continued developing new features to fit users’ needs. It rapidly went through the cycle of “build-design-test”. Because YouTube grew with its users, co-development with the users became its charisma. The findings are as following. (1) In a developing industry or a new field, the gurus are not experts or authorities, but are the market audience. The insistency of vision and the will to change with the market are the reasons why YouTube continues to grow. (2) Both network effect and indirect network effect should start and be used simultaneous. Linkage is more important than productivity. Take advantage of external resourses efficiently; especially take advantages of those giants in the other industry. Concentrate on company’s own core capability. (3) Because duplication happens often in the Internet industry, the first mover advantage seldom exits. The real advantage is from the ability of quick reaction and deep consumer observation. (4) Grass strategy: using a large scale testing to hear the voices of consumers. The changing speed is more important then accuracy. Pursue “good enough” solution, not “the best” one. The formation of enterprise strategy is like growing grass. The point is keeping the soil fertile and keeping it free to grow. (5) Core capability will be core rigidity if one company can not input knowledge into its organization.

There has, for the past few decades, been an increasing tendency from states to hold social media and other information intermediaries liable for the illicit or undesirable speech of their users. Much less debated, however, has been the question of intermediary responsibility for the freedom of speech and information of internet users. In the EU, as well as the US, there are no clear legal safeguards for protecting freedom of speech on privately owned networking platforms – albeit the exponential growth of these platforms as spheres for public expression and discourse. This thesis argues that the content moderation practices and policies of some of the largest social media platforms, in several respects, correspond poorly to Swedish and European freedom of speech standards, as established in human rights law. Considering the rationale behind speech rights, as well as the increasing significance of social media for public discourse, the thesis suggests alternative legal measures to establish corporate responsibility and ensuring online freedom of speech.

Denna uppsats handlar om filmtrailrar, och mer specifikt trailrar som marknadsför 3D-filmer. Syftet är att lyfta fram ett till stora delar outforskat ämne och undersöka likheter och skillnader i konventioner mellan trailrar från 50-talet och moderna trailrar. Frågorna jag ämnar svara är: Hur marknadsför moderna, samtida trailrar 3D-teknologin? Finns det gemensamma konventioner och stilistiska grepp som är genomgående för dessa trailrar? Vad finns det för likheter respektive skillnader i konevntioner och grepp? Vad har förändrats i marknadsföringen av 3D-teknologin sedan 1950-talet? Forskningsfältet trailrar är till stora delar outforskat, men mitt arbete lyfter fram några studier som gjorts. Kernan har skrivit en bok om trailrar i allmänhetoch utformat tankar och resonemang om vad en trailer är. Hon utgår ifrån ett retoriskt synsätt och menar att det går att utläsa hur studior via trailrar "talar" till publiken. Street har skrivit en artikel som utgår ifrån Esther Harris, som skapade trailrar i England, och hennes arbete. Street redogör för Harris trailrar i synnerhet och filmtrailrar i allmänhet och knyter an till det Kernan redogör för i sin bok. Johnston har skrivit om hur trailrar marknadsför teknologi, däribland en artikel om just trailrar för 3D-filmer. Det är denna artikel, med hans resonemang och resultat, som ligger till grund som teoretisk ram för detta arbete. Johnston menar att en rad konventioner och grepp utvecklades under 1950-talet för att lyfta fram 3D-formatet som den stora stjärnan som skulle locka tillbaka publiken till biograferna. Han menar att scener och sekvenser med action, specialeffekter och spektakel lyftes fram så att publiken skulle få se prov på vad formatet kunde göra. Speciellt klipp med utstickande föremål eller armar, vapen eller liknande, framhävdes för att understryka den tredje dimensionen. Man använde även textskyltar och berättarröster som berättade och informerade om 3D-teknologin., samt så kallade "Masters of Ceremonies"; specialskapade segment i trailern där, oftast, en skådespelare (som sig själv eller i sin roll) vände sig direkt till publiken och berättade om 3D-formatet.  I min analys utgår jag ifrån Johnstons teorier och analysrerar sedan trailrarna till Avatar, The Final Destination, Tron: Legacy, Pirates of the Caribbean: On Stranger Tides, The Three Musketeers, The Adventures of Tintin, Men In Black 3 samt The Smurfs. Jag finner att trailrarna gör väldigt lite eller inget alls för att informera om 3D-formatet, men att konventioner i val av klipp och scener sig lika sedan 1950-talet. Med andra ord, att scener med action, specialeffekter, spektakel, och saker och föremål och annat som sticker ut ur skärmen lyfts fram. Undantaget är trailern till The Smurfs som till stor del är lik trailerkonventionerna från 50-talet, i det att den vänder sig direkt till publiken i specialgjort material i sitt tilltal och använder sig av "the Master of Ceremonies".  Jag kommer fram till att mycket i de moderna trailrarna är sig likt och att flera konventioner och grepp lever kvar sedan 50-talet. De största skillnaderna ligger i det direkta tilltalet till publiken och att de moderna trailrarna tycks tona ner budskapet om 3D-formatet.