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In 2019,  Movice and CT created a mural that depicts faces of  high-ranking military officers who were in command when more than 6.000 civilians were killed by soldiers and were presented as guerilla members. After being censored by the military, the mural was reproduced on hundreds of walls in Colombia and other cities such as  New York, Berlin, Paris. On Twitter, the hashtag was used at least three times a day for two years.  Then, how could the contents of ¿Quién dio la orden? (Who gave the order? - WGO)  contribute to social change in the digital society while others go unnoticed? Through in-depth interviews and online participant observation, the organisational practices that produced WGO and the practices of social appropriation are analysed. In particular, the role played by affects and connective action. The research approach is from a non-media-centric perspective, a holistic view of the online/offline communication process of meaning-making. The study relies on the Latin American Theory of Mediations with some components from the theories of Collective Action, Connective Action and Affective Intensity. The findings mainly show that, first, the production of WGO was a permanent negotiation of collective meanings to reach the common goal. Second, WGO was appropriate when the citizens participated in the production of WGO and were able to  identify themselves subjectively. Third, the production of WGO increased affective intensities that triggered exchanges of discourse and action between diverse groups of social actors. In terms of social change, the alternative narrative of WGO was partially legitimised for Colombian society, turning it into a collective referent that challenged the hegemonic narrative of “rotten apples”. / En 2019, Movice y la Campaña por la Verdad crearon un mural que muestra los rostros de militares de alto rango que estaban al mando en el periodo en el que más de 6.000 civiles fueron asesinados y presentados como miembros de la guerrilla. Tras ser censurado por miembros del Ejército, el mural fue reproducido en cientos de paredes de Colombia y otras ciudades como Nueva York, Berlín o París. En Twitter, el hashtag se utilizó al menos tres veces al día durante dos años. Entonces, ¿cómo pudieron los contenidos de ¿Quién dio la orden? (QDO) contribuir al cambio social en la sociedad digital mientras otros pasan desapercibidos? A través de entrevistas en profundidad y observaciones participantes online, se analizan las prácticas organizativas que produjeron QDO y las prácticas de apropiación social. En particular, el papel desempeñado por los afectos y la acción conectiva. El enfoque de la investigación toma una perspectiva no mediático-céntrica, una visión holística del proceso de comunicación online/offline de producción de sentido. El estudio se basa en la Teoría Latinoamericana de las Mediaciones con algunos componentes de las teorías de la Acción Colectiva, la Acción Conectiva y la Intensidad Afectiva. Los resultados muestran principalmente que, en primer lugar, la producción de QDO fue una negociación permanente de significados colectivos para alcanzar el objetivo común. En segundo lugar, QDO fue apropiado desde la participación de los ciudadanos en la producción y cuando éstos lograron identificarse subjetivamente. Tercero, la producción de QDO aumentó las intensidades afectivas que desencadenaron intercambios de discurso y acción entre diversos grupos de actores sociales. En términos de cambio social, la narrativa alternativa de QDO fue parcialmente legitimada por la sociedad colombiana, convirtiéndose en un referente colectivo que desafió la narrativa hegemónica de las "manzanas podridas".

This master thesis explores the dynamics of information flows between the hacktivist group Guacamaya, media outlets and social media users. The study aims to understand the role of various social actors within the digital space such as media outlets, journalists, bots, and trolls, in shaping public opinion and the overall effectiveness of the group's communication activities. A netnographic methodology was employed to observe the journey and transformation of information as it travelled from the hacktivist group to journalists and eventually to social media users. Tweets were obtained purposefully, to build a media ecology with sentiments, topics and where different actors interact with the information and with each other, modifying and reinterpreting the purpose of Guacamaya. The theoretical framework draws on the concepts of technopolitics, hacktivism, information flows, the network society and gatekeeping. My findings show how the Internet is a contested territory where attention and power are disputed. They also provide evidence on the complexity of the communication process in the digital space as all interactions from all actors influence the information flow. The conclusions highlight the new media ecology environment and the multidisciplinary role of actors in the digital realm. Furthermore, they argue that hacktivism as counterpower involves more than technical skills for uncovering hidden information and demanding accountability, but also strategic reappropriation for reducing inequalities and promoting just and inclusive societies. Hopefully, this thesis contributes to understanding the potential of hacktivists groups to drive political and social change through the understanding of a new communication environment.

Covid-19 pandemin har påverkat många länder runt om i världen. Folkhälsomyndigheten i Sverige införde restriktioner och rekommendationer för att skydda samhällets befolkning från att smittas av viruset. I samband med pandemin har det uppkommit ett överflöd av nyheter gällande covid-19 inom både traditionella och digitala medier. Syftet med studien är att undersöka om Folkhälsomyndigheten har påverkats utifrån de olika nyhetsmedier som informerat om covid-19 men även om det finns ett samband mellan studiens fynd och Folkhälsomyndighetens kommunikationsinsatser. Studien har använt sig av source credibility (Hovland et al. 1953) och media credibility (Westley & Severin, 1964; W.Roper, 1959; Bucy, 2003) teorierna som teoretiskt ramverk, relevanta forskningsstudier inom trovärdighet och medier och Folkhälsomyndighetens pandemiberedskapsrapport. Det empiriska underlaget i studien utgår från tolv semistrukturerade intervjuer som genomförts med respondenter inom två åldersgrupper, 20–25 år och 65–70 år. Det har genomförts en tematisk analys för att hitta likheter och skillnader mellan respondenternas svar vilket utformat teman, public service och trovärdighet, nyhetskomsumption, källhänvisning och trovärdighet, språk och det visuella i samband med trovärdighet, respondenternas bild av Folkhälsomyndigheten, massinformation, Folkhälsomyndighetens påverkan av nyhetsmedier, digitala och traditionella medier och Folkhälsomyndighetens expertis. Studiens resultat visar att det uppkommer en svårighet med att mäta respondenternas trovärdighet till Folkhälsomyndigheten genom nyhetsmedier då det uppkommer andra faktorer som är mer påtagliga än faktorerna expertis och tillförlitlighet inom source- och media credibility teorierna. Dessa faktorer är respondenternas livsstil, vanor, journalistik, visuell påverkan, källhänvisning och public service. Det fanns samband med faktorerna och Folkhälsomyndigheternas sex kommunikationsstrategier och genom att myndigheten tar hänsyn till åldersgruppernas faktorer för trovärdighet kan det gynna deras risk- och konsekvensbedömningar inom kommunikationsarbetet inför kommande pandemier. Slutsatsen är att Folkhälsomyndighetens bild inte har påverkats av nyhetsmedierna. Digitala och traditionella medier har inte varit avgörande för respondenternas uppfattning av Folkhälsomyndighetens trovärdighet. Studien belyser även komplexiteten med trovärdighetsbedömningar då respondenterna hade svårigheter med att särskilja avsändaren, meddelandet och mediet. / The Covid-19 pandemic has affected many countries around the world. The Swedish Public Health Agency introduced restrictions and recommendations to protect society's population from being infected by the virus. In connection with the pandemic, there has been an abundance of news regarding covid-19 in both traditional and digital media. The purpose of the study is to investigate whether the Swedish Public Health Agency has been affected based on the various news media that informed about covid-19, but also whether there is a connection between the study's findings and the Swedish Public Health Agency's communication efforts. The study has used the source credibility (Hovland et al. 1953) and media credibility (Westley & Severin, 1964; W. Roper, 1959; Bucy, 2003) theories as a theoretical framework, relevant research studies in credibility, media and the Public Health Agency's pandemic preparedness report. The empirical basis of the study is based on twelve semi-structured interviews conducted with respondents in two age groups, 20–25 years and 65–70 years. A thematic analysis has been carried out to find similarities and differences between the respondents 'answers, which designed themes, public service and credibility, news consumption, source reference and credibility, language and the visual in connection with credibility, respondents' image of the Public Health Agency, mass information, Public Health Agency's influence on news media, digital and traditional media, and the Swedish Public Health Agency's expertise. The results of the study show that there is a difficulty in measuring the respondents' credibility to the Public Health Agency through news media as other factors arise that are more obvious than the factors expertise and reliability within the source and media credibility theories. These factors are the respondents' lifestyle, habits, journalism, visual impact, source reference and public service. There were connections with the factors and the Public Health Authorities 'six communication strategies, and by the authority considering the age groups' factors for credibility, it can benefit their risk and impact assessments in the communication work before future pandemics. The conclusion is that the Public Health Agency's image has not been influenced by the news media. Digital and traditional media have not been decisive for the respondents' perception of the Public Health Agency's credibility. The study also highlights the complexity of credibility assessments as respondents had difficulty distinguishing between sender, message and medium.

[pt] Esta é uma pesquisa nos campos da Comunicação Comunitária e da Economia Política da Comunicação. Procuramos entender como as favelas são representadas nos telejornais locais, com estudo de caso no telejornal carioca de maior audiência. A partir disso, pesquisamos algumas iniciativas de Comunicação Social para descobrir se cursos de audiovisual podem contribuir para que jovens moradores de favelas criem projetos que deem voz às comunidades, e ainda possam dar a eles uma profissão que contribua para o seu crescimento. Este trabalho se insere nos campos supracitados por lidar com todas as mazelas e benefícios que o uso das novas tecnologias possui, além de mostrar novos horizontes no campo do audiovisual. Nossos objetos de estudo foram o jornal local RJTV primeira edição, da Rede Globo, a plataforma de vídeos online YouTube e quatro projetos comunitários com sede no Rio de Janeiro. A metodologia utilizada partiu de um levantamento bibliográfico e se estendeu para a análise de conteúdo e estudos de caso. Também utilizamos questionários do tipo entrevista fechada e fizemos entrevistas semi-abertas. Chegamos à conclusão de que a criação de cursos de capacitação em audiovisual comunitários, como edição e produção, podem contribuir e muito para a democratização da comunicação e ajudar na formação profissional de jovens moradores de favelas. / [en] This is a research in the fields of Community Communication and the Political Economy of Communication. We seek to understand how favelas are represented in local TV news, based on a case study in Rio s news broadcast with the highest audience. Based on this, we researched some initiatives in Social Communication to find out if audiovisual courses can help young slum dwellers create projects that give voice to the communities, and also offer them a profession that contributes to their growth. This work is part of studies on the fields cited above because it deals with all the problems and benefits that the use of new technologies has, in addition to showing new horizons in the audiovisual field. Our objects of study were the local TV news RJTV first edition, from Rede Globo, the online video platform YouTube and four community projects based in Rio de Janeiro. The methodology used started from a bibliographic survey and extended to content analysis and case studies. We also used questionnaires and conducted semi-open interviews. We concluded that the creation of training courses in community audiovisual, such as editing and production, can greatly contribute to the democratization of communication and help in the professional training of young people living in favelas.

En stor del av vårt kulturarv och samtidshistoria förmedlas genom konstutställningar på privata/ enskilda konsthallar och konstmuseer. Förutom en konstupplevelse möts vi också av dold information som visar metoder, teknik och olika ställningstagande som gjorts för att kunna tillgängliggöra en utställning. Allt detta ger oss viktig information om samtidens fysiska och digitala arenor. För att få tillgång till information om dagens utställningar även i framtiden krävs att informationen bevaras (arkiveras/lagras) och att den går att återfinna. Studiens syfte har varit att undersöka hur fyra privata/enskilda aktörer dokumenterar, bevarar och tillgängliggör sina utställningar och hur de ser på begreppet kulturarv samt hur den rådande corona-pandemin 2020/2021 påverkat dem i deras arbete. Studien har också undersökt hur digitala modeller, verktyg och arbetssätt har använts av några statliga/offentliga konstmuseer, som ett sätt att utveckla utställningspresentationen utifrån ett globalt och långsiktigt perspektiv och underlätta planering och samarbete kring utställningsproduktion. Slutsatsen är att den privata/enskilda kultursektorn har ett annat uppdrag, krav och behov av att förmedla konst än vad den statliga/offentliga kultursektorn har. Därför kan man se skillnader i sättet att se på dokumentation, bevarande och tillgängliggörande. Pandemiåret 2020 har utvecklat deras sätt att tänka och arbeta kring kulturinformation och distribution. Besökare och arrangörer har fått ändra sitt fysiska beteende med tanke på smittspridning/social distansering och blivit hänvisade till digitala alternativ. Detta har ökat tillgängligheten till konsten också för de grupper som inte tidigare kunnat fysiskt bevista en utställning. Ett nytt kulturkommunikationssätt med interaktivitet har initierats och en ny form av kulturkonsumtion, kultur on-demand, har utvecklats. / A large part of our cultural heritage and contemporary history is conveyed through art exhibitions at private art galleries and art museums. In addition to an art experience, we also encounter hidden information concerning aspects such as methods, technology and various positions taken to be able to use an exhibition. All this gives us important information about contemporary physical and digital arenas. In order to have access to information about today's exhibitions even in the future, it is necessary that the information is preserved (archived/stored) and that it can be found. The purpose of the study has been to investigate how four private art galleries and art museums document, preserve, make their exhibitions available, how they view the concept of cultural heritage, as well as how the prevailing corona pandemic 2020/2021 has affected them in their work. In addition, the study has also examined how digital models, tools and working methods have been used by public art museums, as a way to develop the exhibition presentation from a global and long-term perspective as well as to facilitate planning and collaboration around exhibition production. The conclusion is that private art galleries and museums have a different mission, requirements and need to convey art than the public art museums has. Therefore, one can see differences in the way of looking at documentation, preservation and making the information available. The pandemic year 2020 has developed their way of thinking about and working with cultural information and distribution. Visitors and organizers have had to change their physical behavior in view of the spread of infection/social distancing and have been referred to digital alternatives. This has increased the accessibility of art also for those groups who have not previously physically attended an art exhibition. A new way of cultural communication with interactivity has been initiated and a new form of cultural consumption, culture on-demand, has been developed.

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