Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, February 2008. / Includes bibliographical references (p. 76-80). / This thesis explores "meaningfulness" in videogames. Academics, journalists, and others who write about games often discuss the concept of meaning yet seldom define it clearly. I am focusing on a variation of this topic: what it means for a gaming experience to be meaningful--literally: full of meaning. Meaningfulness, as I define it, refers to the quality a videogame has when one considers it socially, culturally, or personally important. I attempt to answer the question: How do games become meaningful for players. I begin by stripping it down to the core ideas that interest me the most: narrative and emotion. Representing the debate over these terms helps illuminate the larger debate over meaningfulness. To accomplish this I examine different communities and their rhetoric. There are several major interpretive communities of games: academics, practitioners, journalists and consumers. The different ways these communities define narrative and emotion can be understood by examining their rhetoric. This reveals patterns that show the diversity of how meaningfulness is defined. The different ways players construct meaningfulness through rhetoric can be mapped. Doing so illustrates patterns and trends in logic that may not be apparent on the surface, and reveals certain clusters of people who are united by shared rhetoric. This methodology provides a framework to understand the forces shaping opinions over what meaningfulness is and is not in videogames. Identifying this framework and exploring its usefulness is the major project of this thesis. / by Matthew Jason Weise. / S.M.

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, February 2010. / "October 2009." Cataloged from PDF version of thesis. / Includes bibliographical references (p. 78-94). / A design feature of contemporary sport video games allows elite athletes to play as themselves in life-like representations of actual sporting events. The relation between playing sport video games and actual physical performance has not yet been established. Drawing on data from interviews and observations of elite athletes playing sport video games, this thesis explores why elite athletes are playing these video games as their virtual selves, and establishes a framework for understanding how this play may enhance learning opportunities. Building on theories based in the disciplines of psychoanalysis, education, and neuroscience, this thesis argues that virtual play by athletes playing as themselves in sport video games has the potential to support and encourage physical performance. / by Lauren Silberman. / S.M.

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2002. / Includes bibliographical references. / The growth and spread of the Internet have generated new possibilities for public participation with news content, forcing news scholars and makers alike to confront a number of questions about what the nature, role and function of news, journalists, and audiences are in a networked society. If news gathering, reporting, and circulation had existed for generations as a largely centralized process, left to the minds and hands of reporters organized through news rooms across the nation, the environment of the Internet and interactive properties of new media counter such a model, affording users with as much capacity to produce their own news content as they have had to merely consume it. This thesis, then, seeks to contribute to scholarship on online journalism through an ethnographic study of the five-year-old, technology-centered news site Slashdot.org as an emerging model of online news production and distribution I call a collaborative new network. Embodying a pronounced case of the decentralization of editorial control in online news environments, Slashdot's collaborative news network operates through an inscription of users as the primary producers of news content; an expansion of an understanding of the site of news to include not just journalistic reports and articles, but the discussion by users around them; debate around issues of editorial authority; a valuation of subjectivity and transparency as properties of news; and the generation of user-driven forms of collective action whose effects extend beyond the environment of Slashdot's network. This study will focus, then, on an examination of the social practices and processes surrounding the production, consumption and distribution of news on Slashdot, and the meanings that are generated through such activities. Through such an analysis, I hope to explore how practices enacted on Slashdot (re)construct users' relationship to news, editors, and one another - and similarly investigate how it (re)constructs editors relationship to news, readers, and one another. / by Anita J. Chan. / S.M.

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2007. / Includes bibliographical references (p. 177-181) and index. / Transmedia narratives use a combination of Barthesian hermeneutic codes, negative capability and migratory cues to guide audiences across multiple media platforms. This thesis examines complex narratives from comics, novels, films and video games, but draws upon the transmedia franchises built around Jim Henson's Labyrinth and The Dark Crystal to provide two primary case studies in how these techniques can be deployed with varying results. By paying close attention to staying in canon, building an open world, maintaining a consistent tone across extensions, carefully deciding when to begin building a transmedia franchise, addressing open questions while posing new ones, and looking for ways to help audiences keep track of how each extension relates to each other, transmedia storytellers can weave complex narratives that will prove rewarding to audiences, academics and producers alike. / by Geoffrey A. Long. / S.M.

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2007. / Includes bibliographical references (leaves 65-68). / This paper addresses the changes in cartography since digitization and widespread popular dissemination. Cybercartography, an emergent system of maps, mapmaking tools, and mapmakers, forces a rethinking of spatial representations. The implicit distinction in digital media enables a new type of map user or neo-geographer that creates layers of expressions based on subjective experience. This paper argues that the neo-geographer signifies a new cartographic behavior that affords a complex subjectivity. This behavior is further exhibited in the practice of navigable maps and virtual globes which lead the way to a paradigmatic change in the way we represent and interact with space. It is divided into three parts: Part I addresses the role of digitization in maps and lays out framework and vocabulary. Part II examines layers of spatial representations in historical context. Part III opens room for future study in the quickly developing inhabitable cartographic spaces of virtual globes and virtual worlds. / by Amanda Finkelberg. / S.M.

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2006. / Includes bibliographical references. / This work examines how images of disability are used to frame cultural narratives regarding technology. As advances in biotechnology ensure that more people will be living with technological prosthetics against and beneath their skin, there is an increasing importance in examining how such bodies challenge traditional cultural attitudes regarding identity and non-normative bodies. This work uses a cultural studies approach to explore the intersections between disability and technology. Additionally, memoir is often included to illustrate some of the complexities regarding how experiences with disability and technological prosthetics can influence aspects of identity. Like disability, technology is often framed in gothic terms of lack or excess, and thus a discussion of the "techno-gothic" also features in this work. Furthermore, such a discussion is also relevant to seemingly unrelated modes of characterizing the other, such as the archetype of the cyborg, the queer body, or the formation of non-traditional social groups, even to images of the city as urban ruin. / (cont.) This work demonstrates that, while images of disability rarely inform us about the everyday experience of disability, they can inform us about how technology frames non-normative bodies as either "less than" or "more than" human, and how the tropes and language associated with disability is often used to characterize technology itself. / by Alicia "Kestrell" Verlager. / S.M.

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2004. / Includes bibliographical references (p. 153-156). Filmography: p. 157. / In addition to being a keyfigure in the history of filmmaking, Orson Welles was an original theatre director and radio performer and producer. The aim of this thesis is to study Welles' achievements and failures in theatre, radio and film, as well as comparing his craft and techniques in each medium during his early career. Welles' adaptations of Shakespeare will provide the guiding thread of this intermedial exploration. Close reading of these texts will show the recurrence of intermediality in Welles' work, namely, the way techniques from one medium feed into the other two. Borrowing conventions and devices that are proper to other media and importing them into a target medium is his basic innovative strategy. This use of intermediality brings about innovative effects that favour agile and gripping storytelling, though it can also hamper the understanding of the piece. / by Clara Fernández-Vara. / S.M.

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2004. / Includes bibliographical references (leaves 68-70). / This thesis is an exploration of the ways in which interactive features in the virtual space can be developed to complement physical museum exhibitions, as well as create opportunities for museums to reach broader audiences. I provide a critical analysis of current online museum exhibition features and how they support museum curatorial missions. As a case study, I describe from the viewpoint of a participant/observer, the design and development of the Web site for the exhibition Pattern Language: Clothing as Communicator at Art Interactive. / by Moneta Kwok-Ching Ho. / S.M.

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2008. / Includes bibliographical references (leaves [133]-[150]). / Media policy in the United States has, since its inception, been governed by the principle that infrastructure providers should serve "the public interest." The Federal Communications Commission has traditionally been charged with enforcing various obligations on businesses under this principle. Policymakers have developed different regimes for different media, but these distinctions no longer make sense in a technologically converged environment. This study draws upon the historical origins of the principle in order to inform contemporary debates in communication policy. It recovers some of the normative meaning behind "the public interest" phrase, and identifies the several dimensions in which it remains relevant today. The thesis argues that universal access, platform innovation, and general-purpose technologies should inform network-aware media policy. / by Stephen James Schultze. / S.M.

Thesis: S.M. in Comparative Media Studies, Massachusetts Institute of Technology, Department of Comparative Media Studies/Writing, 2019 / Cataloged from PDF of thesis. / Includes bibliographical references (pages 78-82). / by James Bowie Wilson. / S.M. in Comparative Media Studies / S.M.inComparativeMediaStudies Massachusetts Institute of Technology, Department of Comparative Media Studies/Writing