An emerging body of media scholarship has examined the changing norms and routines of professional journalists, suggesting they are slowly adapting their practice to meet changes in audience expectations brought on by the widespread adoption of social media. Much of this scholarship has focused on traditional news producers, giving attention to journalists and other news producers who work in newsrooms. However slowly, journalists are beginning to welcome more audience participation in the process of news creation, hinting at a more reciprocal form of journalism and a loosening of traditional gatekeeping practices. In an effort to advance the theoretically conceptual research of the moment, this study considers how the perceived journalistic norms and participatory and gatekeeping roles of an emerging journalistic actor may be aligning with and/or deviating from more traditional journalists. The work of entrepreneurial journalists, or those who are not affiliated with or tied to a single news organization but instead freelance their work, is helping to fill major content gaps left by staff cutbacks that came on the heels of news media’s economic downturn. Most notably, specialized areas of journalism such as health reporting are increasingly calling upon entrepreneurial journalists to work aside more traditional journalists. Against the backdrop of health journalism, this study advances by employing semi-structured interviews with traditional journalists, entrepreneurial journalists, and their editors, analyzing recent changes in their journalistic norms and participatory and gatekeeping roles. The findings suggest an ideological split between organizational and entrepreneurial journalists and indicate that organizational journalists and editors alike may be relying on entrepreneurial journalists as innovators. For their part, entrepreneurial journalists may demonstrating an extension of participatory journalism—reciprocal journalism—that could enhance network connectivity and community building for journalists, news organizations, and other mass media practitioners. Though traditionally perceived as outsiders, these journalists may be serving as intrapreneurials, informing innovation in journalism and beyond. The impact of this and other observations on mass communication theory and practice are explored. / text

This study of James Joyce's transmodal techniques explores, first, Joyce's implementation of non-language based media into his works and, second, how digital technologies might assist in identifying and studying these implementations. The first chapter introduces the technique of re-rendering, the artistic practice of drawing out certain characteristics of one medium and, by then depicting those characteristics in a new medium, calling attention to both media and their limitations and potentials. Re-rendering can be content-based or form-based. Joyce employs content-based re-rendering when he alludes to a piece of art in another medium and form-based re-rendering when he superimposes the form of another medium onto his text. The second chapter explores Dubliners as a panoramic catalog of the various aspects involved in re-rendering media. The collection of stories, or the fragmented novel, shows synaesthetic characters, characters engaged in repetition and revision, and characters translating art across media by superimposing the forms, materials, and conventions of one medium onto another. Dubliners culminates in the use of coda, a musical structure that commonly finalizes a multi-movement work. The third chapter analyzes of A Portrait of the artist as a young man, focusing on its protagonist who exhibits synaesthetic qualities and a penchant for repeating phrases. With each repetition he also revises, a practice that foreshadows the form-based re-rendering Joyce employs in Ulysses and Finnegans Wake. The fourth chapter explores the "Sirens" episode of Ulysses. In this episode, Joyce isolates the structure of the musical medium and transfers it to a literary medium. This technique shows his advanced exploration of the effects of one artistic medium on another and exemplifies his innovative technique of re-rendering art forms. Finally, the fifth chapter explores how we might use digital technologies to visualize Joyce's techniques of re-rendering. Based on these visualizations, we might identify further connections Joyce makes across his works. / text

This study explores the use of electronic information services (EIS) by students at the Howard College (HC) campus of the University of KwaZulu-Natal (UKZN) in the faculties of Engineering and the Humanities, Development and Social Sciences (HDSS). The objectives were to establish usage among students; identify determinants of usage and to make recommendations. To achieve these objectives, the study concentrated on answering these research questions: • Do UKZN students use library e-resources? • Which e-resources are UKZN students using? • Where do UKZN students access library e-resources? • Why do UKZN students use library e-resources? • What characterises non-users of library e-resources? • What barriers exist to the use of electronic information services (EIS)? A review of the literature identified a mix of quantitative, qualitative and combined methods used to investigate EIS usage. In various research studies, the variables considered to be determinants of use included age, status, discipline of study, subject content, computer proficiency, ease of use, availability and print formats in academic environments. The barriers experienced when using EIS formats, the adoption of technology and the usability characteristics of EIS were also important aspects evident in the literature. The methodology adopted was based on a pragmatic philosophical approach and sought to establish baseline data. A quantitative research design was used which set out to achieve the research objectives through data collection on two fronts. Firstly, the overall usage environment at UKZN was established by reviewing vendor usage statistics. The COUNTER compliant statistics for selected databases and e-journals were collected and analysed. As COUNTER statistics were not available for e-books, the statistics available from the vendors were used. Secondly, a stratified, random sample of students on the HC campus was surveyed by means of an online questionnaire. A response rate of 22.5% was achieved. Data collected established the characteristics of users; whether they made use of e-books, e-journals and databases; where they used them and how often; why they made use of them; and what barriers and problems they experienced when using them. Data from non-users was also solicited. Data is presented in graphs and frequency tables. The Chi-square test was applied to establish significant associations between variables and these results are produced in contingency tables. The findings established that EIS are used by students and usage fluctuates during the course of the academic year with peaks occurring in each semester and low points during the vacation periods. e-Journals and databases are used more than ebooks, while postgraduate students use EIS most. Non-users made up almost a third iv of the sample; while habitual, frequent and infrequent users were reflected in almost equal numbers among those who use EIS. Age, gender or discipline of study were not in evidence as determinants of use. Students undertake searches mainly from computers in the LANs but off-campus computers are also used, which highlights the importance of remote access. The library website is most often the starting point for navigation, although search engines are also popular as a virtual starting point. Locating information was the prime motivation to use EIS, and students largely rated the EIS they used as good or excellent. Barriers were experienced by as many as 37% of users who reported that the non-availability of EIS was the main problem, although they experienced other difficulties. In concluding, issues of library service delivery and recommendations regarding usage are made. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2010.

The current generations of children are being taught in schools which are not relevant to their daily lived experiences. “Schools and the curricula that exist today are more suited to the needs of the industrial age than those of the information age” (Yelland, 9). As a result, students are becoming disengaged from the learning process. The vast permeation of digital media into our surroundings and a shrinking global society demand a new typology in learning environments. This typology must address students' creativity, social needs, and the importance of community and sense of place. How can these needs be met through the incorporation of technology – often controversial and deemed isolative and disconnecting? Can technology be used as a social tool to create healthy and productive learning spaces? This proposal responds to these questions by presenting a conceptual re-design of an elementary school in Winnipeg. The supporting theoretical framework outlines literature which examines education, technology and society, and space and place. Workshops and interviews with students and teachers are analyzed, and design precedents, strategies and methods are discussed. Collectively, the theories, concept, and research presented provide insight into the creation of an interactive, flexible, and community-focused learning environment.

The current generations of children are being taught in schools which are not relevant to their daily lived experiences. “Schools and the curricula that exist today are more suited to the needs of the industrial age than those of the information age” (Yelland, 9). As a result, students are becoming disengaged from the learning process. The vast permeation of digital media into our surroundings and a shrinking global society demand a new typology in learning environments. This typology must address students' creativity, social needs, and the importance of community and sense of place. How can these needs be met through the incorporation of technology – often controversial and deemed isolative and disconnecting? Can technology be used as a social tool to create healthy and productive learning spaces? This proposal responds to these questions by presenting a conceptual re-design of an elementary school in Winnipeg. The supporting theoretical framework outlines literature which examines education, technology and society, and space and place. Workshops and interviews with students and teachers are analyzed, and design precedents, strategies and methods are discussed. Collectively, the theories, concept, and research presented provide insight into the creation of an interactive, flexible, and community-focused learning environment.

Šių laikų muziejų lauko veikėjus – steigėjus, kuratorius ir lankytojus,– jų egzistavimo aplinką veikia tinklaveikos visuomenė ir virtualybės kultūra. Skaitmeninių medijų raiška muziejuje yra medijų sąveika, kurios pagrindu tyrimo metu apibrėžtos skirtingos muziejaus 0.0, 1.0 ir 2.0 sampratos. Muzealumas paveikus tik tada, kai visi muziejininkystės elementai pritaikomi atitinkamam kultūros lygmeniui ir muziejinė komunikacija vyksta atsižvelgiant į partnerių interesus. Išryškėję sisteminiai prieštaravimai rodo, jog skaitmeninių medijų raiškos kryptys Lietuvos valdžios institucijose, muziejuose ir visuomenėje nevisada sutampa. Tiriant nustatyta, kad sovietmečiu Lietuvos muziejų komunikacijoje vyravo komunistinio režimo kontrolės sustiprinta ir tradicinių medijų raiškos bei industrinės visuomenės poreikių suformuota muziejaus 0.0 samprata. Atgavus nepriklausomybę, skaitmeninių medijų taikymas Lietuvos muziejuose atitiko užsitęsusį Gartner metodologijos lūkesčių piką, kuris lėmė vėlyvą masinį skaitmeninių medijų taikymo etapą – produktyvumo plokštumą. Atliktas socialinės tinklaveikos įrankių Lietuvos muziejų svetainėse, apsilankymų jose ir paskyrose „Facebook“ socialinėje medijoje charakteristikų tyrimas, muziejų klasterizavimo rezultatai rodo, kad dauguma Lietuvos muziejų komunikaciją virtualioje erdvėje vykdo ne pagal tinklaveikos visuomenės poreikius atitinkančio dalyvaujamojo muziejaus 2.0, bet pagal pereinamajam laikotarpiui iš industrinės į tinklaveikos visuomenei artimą... [toliau žr. visą tekstą] / The modern museum field actors – the founders, curators and visitors – their existence environment is influenced by network society and virtuality culture. Digital media expression in the museum is the media interaction, according to which the different concepts of museum 0.0, 1.0 and 2.0 were defined in this research. Museality is effective only when all the elements of the museum are adapted to the appropriate cultural level of the museum and communication happens taking into account the interests of partners. Systemic contradictions which became obvious show that the trends of the expression in the digital media in Lithuanian government institutions, museums and society do not always match. The research revealed that during the Soviet times, the museum 0.0 concept was dominant in Lithuanian museums communication strengthened by the control of communist regime and formed by the traditional media expression, and the needs of the industrial society. After the restoration of independence, the application of digital media in Lithuanian museums corresponded to the prolonged expectations peak of Gartner methodology, which has resulted in late massive stage in the application of digital media – the plateau of productivity. The research concerning characteristics of social networking tools in Lithuanian museum websites, visits to them, and in Facebook social media accounts and museums clustering results show that the majority of Lithuanian museums perform the communication in... [to full text]

Šių laikų muziejų lauko veikėjus – steigėjus, kuratorius ir lankytojus,– jų egzistavimo aplinką veikia tinklaveikos visuomenė ir virtualybės kultūra. Skaitmeninių medijų raiška muziejuje yra medijų sąveika, kurios pagrindu tyrimo metu apibrėžtos skirtingos muziejaus 0.0, 1.0 ir 2.0 sampratos. Muzealumas paveikus tik tada, kai visi muziejininkystės elementai pritaikomi atitinkamam kultūros lygmeniui ir muziejinė komunikacija vyksta atsižvelgiant į partnerių interesus. Išryškėję sisteminiai prieštaravimai rodo, jog skaitmeninių medijų raiškos kryptys Lietuvos valdžios institucijose, muziejuose ir visuomenėje nevisada sutampa. Tiriant nustatyta, kad sovietmečiu Lietuvos muziejų komunikacijoje vyravo komunistinio režimo kontrolės sustiprinta ir tradicinių medijų raiškos bei industrinės visuomenės poreikių suformuota muziejaus 0.0 samprata. Atgavus nepriklausomybę, skaitmeninių medijų taikymas Lietuvos muziejuose atitiko užsitęsusį Gartner metodologijos lūkesčių piką, kuris lėmė vėlyvą masinį skaitmeninių medijų taikymo etapą – produktyvumo plokštumą. Atliktas socialinės tinklaveikos įrankių Lietuvos muziejų svetainėse, apsilankymų jose ir paskyrose „Facebook“ socialinėje medijoje charakteristikų tyrimas, muziejų klasterizavimo rezultatai rodo, kad dauguma Lietuvos muziejų komunikaciją virtualioje erdvėje vykdo ne pagal tinklaveikos visuomenės poreikius atitinkančio dalyvaujamojo muziejaus 2.0, bet pagal pereinamajam laikotarpiui iš industrinės į tinklaveikos visuomenei artimą... [toliau žr. visą tekstą] / The modern museum field actors – the founders, curators and visitors – their existence environment is influenced by network society and virtuality culture. Digital media expression in the museum is the media interaction, according to which the different concepts of museum 0.0, 1.0 and 2.0 were defined in this research. Museality is effective only when all the elements of the museum are adapted to the appropriate cultural level of the museum and communication happens taking into account the interests of partners. Systemic contradictions which became obvious show that the trends of the expression in the digital media in Lithuanian government institutions, museums and society do not always match. The research revealed that during the Soviet times, the museum 0.0 concept was dominant in Lithuanian museums communication strengthened by the control of communist regime and formed by the traditional media expression, and the needs of the industrial society. After the restoration of independence, the application of digital media in Lithuanian museums corresponded to the prolonged expectations peak of Gartner methodology, which has resulted in late massive stage in the application of digital media – the plateau of productivity. The research concerning characteristics of social networking tools in Lithuanian museum websites, visits to them, and in Facebook social media accounts and museums clustering results show that the majority of Lithuanian museums perform the communication in... [to full text]

The ability to maintain continuous access to digital documents and artifacts is one of the most significant problems facing the archival, manuscript repository, and record management communities in the twenty-first century. This problem with access is particularly troublesome in the case of complex digital installments, which resist simple migration and emulation strategies. The Legacy Project, which was produced by the William Breman Jewish Heritage Museum in Atlanta, was created in the early 2000s as a means of telling the stories of Holocaust survivors who settled in metropolitan Atlanta. Legacy was an interactive multimedia kiosk that enabled museum visitors to read accounts, watch digital video, and examine photographs about these survivors. However, several years after Legacy was completed, it became inoperable, due to technological obsolescence. By using Legacy as a case study, I examine how institutions can preserve access to complex digital artifacts and how they can rescue digital information that is in danger of being lost.

In this thesis I explore the relationship between the mobile phone and its user and argue that this relationship is crucial in merging the contexts of public and private, the physical and virtual, imagined and real, past and present, author and audience. I view this relationship as crucial to understanding the shift in the role of the audience from passive receivers of content to active producers ('Mobile Produsers'). Further, I argue that the diverse contexts of mobile content production and the definition of the content itself have become the central means by which mobile phone practices are emerging. I draw on anthropology, social science and media studies in order to explore the impact of mobile contexts, content, and use on identity. I propose that this approach allows for a new understanding of mobile practices as a form of spectacle, especially what I refer to as the spectacle of the self. Produsership theory informs an understanding of mobile practices, content production and performance, and the Bahktinian concept of carnival becomes a useful term in analysing the mobile as both performance and spectacle. Through an analysis of mobile content within cinematic culture, social interaction, and mixed media environments I consider the ways in which the mobile functions not only as a tool for positioning the individual, but also as performing an integral part in a multi-user process of mobile content production. In this sense, mobile content can be understood as a map, and the mobile as a compass used by the produser to navigate the mobile?s diverse contexts. Furthermore, I demonstrate that mobile content is collectively constructed while being individually absorbed. It is reflective of both the context and its user and open to constant questioning and interpretation, which is then shared with others. Finally, this thesis explores the notion of being t/here as mode of participating with the mobile in time and space, where one's identity is distributed across virtual and physical spaces, simultaneously locating the user as both here and there (t/here).

Submitted by Ronildo Prado (ronisp@ufscar.br) on 2017-08-17T13:22:34Z No. of bitstreams: 1 DissTRG.pdf: 1240279 bytes, checksum: 1ad123c29167f0455fa1286afcc525a2 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-17T13:22:43Z (GMT) No. of bitstreams: 1 DissTRG.pdf: 1240279 bytes, checksum: 1ad123c29167f0455fa1286afcc525a2 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-17T13:22:49Z (GMT) No. of bitstreams: 1 DissTRG.pdf: 1240279 bytes, checksum: 1ad123c29167f0455fa1286afcc525a2 (MD5) / Made available in DSpace on 2017-08-17T13:22:55Z (GMT). No. of bitstreams: 1 DissTRG.pdf: 1240279 bytes, checksum: 1ad123c29167f0455fa1286afcc525a2 (MD5) Previous issue date: 2017-03-06 / Não recebi financiamento / The proposal of this research is to collect and analyze the variability of social representations about transsexuality that circulate on the internet according to the trans people themselves. The research was based on the dynamics of use that trans people make of certain digital media, specifically social networks and blogs, as a source of information, sharing, debate and socialization. Therefore, I used the online observation of blogs, pages/communities of Facebook and Youtube channels, wich are constituted as spaces of circulation of speeches about transsexuality. In dialogue with Queer Theory, Gender studies, and other digital media researches I explore the relationship between representations, corporalities, subjectivities as the transsexuality involve a cultura dynamic which is associated with modes of understand/modify bodies and subjectivities. / A proposta dessa pesquisa é recolher e analisar a variabilidade de representações sociais acerca de transexualidades que circulam na internet segundo as próprias pessoas trans. A pesquisa se estabeleceu a partir da dinâmica de uso que as pessoas trans fazem de determinadas mídias digitais, especificamente redes sociais e blogs, como fonte de informação, compartilhamento, debate e socialização. Para tanto, utilizei a observação online de blogs, páginas/comunidades do Facebook e canais do Youtube, que se constituem como espaços de circulação de discursos sobre as transexualidades. Em diálogo com a Teoria Queer, estudos sobre gênero, identificações e outras pesquisas sobre as mídias digitais exploro a relação entre representações, corporalidades e subjetividades, já que as transexualidades envolvem uma dinâmica cultural que se associa a modos de compreender e/ou modificar corpos e subjetividades.