While today, archival theory is permeated with postmodern ideas and philosophies, borrowing from fields as diverse as anthropology and computer science, even just a few decades ago, this was far from the case. This transition was pioneered and strongly influenced by the imaginative and thought-provoking essays of Hugh Taylor, a Canadian archivist who developed a worldview that positioned archives and archivists at centre stage. Taylor was able to do so as a result of his fascination with the works of the media theorist, Marshall McLuhan, whose ideas Taylor found directly applicable to archives and archival theory. This thesis examines the mental state of Hugh Taylor throughout his life and how this mental state shaped his revolutionary concepts, which delved into epistemology and metaphysics, placing archives at the centre of a universal network of connections. These concepts would go on to drastically change archival theory to what it is today. / October 2016

This dissertation presents a practical theological evaluation of Bible study materials which incorporate the video medium as part of their package. I begin by establishing a focus of practical theology which emphasises the importance of the development of an active reflective sojourning of the practical theologian. I conclude that: <ul> Practical theology is concerned with establishing and cultivating the rhythm of action and reflection within the experience of the Christian community of faith. This is a process of listening to the Word of God and discerning to address the community of faith through proposing change, with all these tasks operating within a current context of the Christian faith and for the purpose of maintaining and perfecting the Christian community.</ul> Following this, I present the established rhythm of action and reflection by drawing on a narrative of my experience and arrive at a perceived problem with the current development of Bible study materials that incorporate the video medium. The following thesis is proposed: <ul> The Church has a responsibility to train and equip believers within the context of the relational community interacting with the Word of God so the community may grow in discernment and maturity. The Church has, and continues, to utilise different media to provide teaching and training on a mass scale. The current products being developed as Bible study materials (especially those incorporating the video medium) are failing to meet this responsibility.</ul> From this position the study then presents a continuing sojourning through a theoretical and empirical investigation to explore the validity of the thesis and cultivate further my active reflection. The theoretical investigation provides three complimentary perspectives for evaluation: Cultural Value Systems; Communication Theories; and Pedagogical Approaches. The empirical exploration includes a Qualitative Document Analysis of the Bible Study Products which is supplemented by Qualitative Interviews of small group leaders from a local church setting. In conclusion, the thesis is re-evaluated against the outcomes of the study and a proposed change is presented for the purpose of maintaining and perfecting the Christian community. This draws attention to the tension between established cultures and the introduction of new technologies; the importance of a production focussed informed by a theology of small groups; the need for new media to be continually evaluated in their utilisation; and the need to recognise the dominant ‘message’ communicated by the combination of content and the medium. A closing narrative reflection of my experience is also included to illustrate the ongoing cultivation of the rhythm of action and reflection which this study has encouraged. Copyright / Dissertation (MA(Theol))--University of Pretoria, 2013. / Practical Theology / unrestricted

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The project Language of the Book Volume I-III explores the conceptual and the bodily experience of reading and making books. The essay presents the development of Volume I: Narracube consisting of three storytelling prototypes. With Narracube a format was developed that can invite stories to be told beyond single voices, linear time and fixed points of views. Narracube highlights the active role of a medium in transmission of a message. A book is never a neutral container for ink but an active space of communication in its mere contruction despite its content. / Projektet Bokens språk Volume I-III utforskar den konceptuella och kroppsliga upplevelsen av att läsa och göra böcker. Uppsatsen presenterar utvecklingen av Volume I: Narrakub som består av tre prototyper för berättande. Narrakub är ett format som utvecklats för att undersöka hur konstruktionen av boken kan bjuda in berättelser bortom enstaka röster, linjär tid och låsta perspektiv. Narrakub belyser den aktiva rollen som ett medium har då det sänder ett meddelande. En bok är aldrig en neutral behållare för bläck utan bär på ett aktivt kommunikationsutrymme i sin konstruktion oavsett innehåll.

The September 11, 2001 Jihadists attack on the West and the subsequent wars on terrorism indicate that war may be a permanent condition of life in the contemporary world. This implies that to understand contemporary society, culture and communication requires an understanding of war because war could perhaps provide a perspective through which to understand the world. The aim of this study is to provide such a perspective and to critically explore the link between war and communication. However, in approaching a study of war one is confronted with a pervasive pacifist anti-war ideological bias. To overcome the bias the study adopts a critical strategy: firstly it deconstructs the taken for granted assumptions about the positive value of peace and then it reconstructs and traces the contours of a Western tradition of philosophical thought that considers war as being an integral and formative aspect of human identity and communication. Chapter 2 uncovers the limitations of the pacifists' discourse on war. Chapter 3 traces the Western tradition originating in Heraclitus that considers war as formative experience of being human. Chapter 4 traces war and killing as formative of language and communication. Using these insights a careful reading and interpretation of how war informs the thought and functions in the texts of selected social theorists of the twentieth century. Chapter 5 traces war as an agonistic structure in the works of Johan Huizinga on the role of play and in the political theory of Carl Schmitt. Chapter 6 explores the idea of war as a model of society in the works of Foucault. Chapter 7 investigates the central influence of real and imagined war on Marshall McLuhan’s theory of the media. Chapter 8 explores the way war structures the thought of Lyotard on the postmodern condition. Chapter 9 concludes by drawing implications on how a perspective on war contributes to development of communication theory and understanding life in the postmodern condition. / Communication Science / D. Litt. et Phil. Communication )

I denna uppsats tittar jag närmare på webb-tv och hur användningen av detta medium har utvecklats under de senaste åren. Jag har valt att studera SVT Play eftersom de är störst och att SVT var först av de stora tv-kanalerna i Sverige med en play-tjänst. Med hjälp av Jay David Bolters och Richard Grusins teser kring remediering, Marshall McLuhans filosofiska grunder kring medier, kopplar jag ihop dagens användning av webben som ett tv-medium tillsammans med Pelle Snickars teorier som ger en nutida svensk kontext. Huvuddelen av uppsatsen består av en analys av webb-tv-statistik från 2011 fram till och med första kvartalet 2016. Majoriteten av statistiken kommer från MMS som ansvarar för tv- och webb-tv-mätningar i Sverige. Uppsatsens statistikgenomgång görs utifrån ett helårsperspektiv, månadsperspektiv och ett programspecifikt perspektiv. Programmet jag valt är På spåret och hur webb-tv- publiken till detta program förändrats sedan 2011. Här gör jag även en jämförelse med linjär-tv-tittandet för att se om respektive medium påverkar det andra. På spåret har under de senaste fem säsongerna haft en stabil tv-publik via linjär-tv, med ett tittarsnitt på omkring 2,5 miljoner per avsnitt. Webb-tv-tittandet har däremot ökat kraftigt från och med 2013, vilket samtidigt visar att det är ett medium som kommer att fortsätta växa under de närmsta åren.

The thesis aims to give an overview of the treatment of media in texts that have formed modern dystopian writing and to which new additions in the genre necessarily relate. This set of texts consists of George Orwell's Nineteen Eighty-Four, Aldous Huxley's Brave New World and When the Sleeper Awakes by H. G. Wells; first chapter substantiates this selection and proceeds to define the concepts of "media" and "dystopia". Second chapter is concerned with the understanding of history in dystopian societies and shows that the very concept of historicity is undesirable for a totalitarian state, which seeks to blur history and reduce it to a three-point schema "before the Event - the Event (revolution) - after the Event". Closer analysis then shows that the Event itself can be divided into a further triad that has to be completed in order to pass into eternal post-Event society. Third chapter describes the use of citizens as media and shows that while Huxley's society uses what Michel Foucault calls "biopower" to achieve this goal, Orwell's society rather uses the concept of "discipline". Fourth chapter turns to printed media a the privileged role they are ascribed in the novels: The authors see literature as an embodiment of individuality and, at the same time, as a guarantee of tradition established by an...

Le travail de Willem Boshoff s'articule autour de la date charnière d'avril 1994, les premières élections démocratiques en Afrique du Sud. Il fait des sculptures en granite et des installations de matériaux accumulés. L'artiste revendique son attachement à un art basé sur le langage, il est écrivain de dictionnaires. En revisitant les questions posées par les artistes du XXème siècle, textes et œuvres produits en Europe sont systématiquement vérifiés au regard de leur contrepartie sud-africaine. L'attitude de Boshoff, une mélancolique interrogation de son rôle de créateur, s'explique par les conditions politiques et son milieu culturel. L'artiste découvre des façons plus dynamiques de faire geste quand il adopte ce persona du druide. Lors de son objection de conscience au service militaire il avait appris qu'il est mieux de cacher la véritable signification d'un signe ou d'inventer des façons de disqualifier les textes. Les "Notes pour une esthétique aveugle" où l'essentiel n'est pas visible, inventent un dictionnaire à être lu avec les mains. Boshoff interroge ici les théories de perception qui munissent l'artiste sud-africain d'une façon de faire basculer le monde occidental vers une pensée qu'il peut réclamer sienne. La multiplicité des langues en Afrique du Sud s'ouvre à des questions de mémoire, d'écologie, de disparition, d'espace mental, des limites de la ficticité. Boshoff incite son spectateur à une opération de traduction qui peut être envisagée de façon tangible dans des œuvres tels que "Writing in the Sand" et les "Jardins de mots". Le druide est le berger des mots et des plantes en danger d'oubli. Par le même geste il les protège contre la possibilité d'être pétrifiés ou fossilisés dans une théorie ou dans un dogme. Un champ d'intelligibilité du travail de Boshoff est créé à l'aide d'esprits apparentés: Sarkis, Mofokeng, Baumgarten, Gette, Mudzunga, Ulrichs, Zulu, Kosuth, Wafer, Bochner, Filliou, Darboven, Alÿs, Acconci, Langa, Marshall McLuhan, Ivan Vladislavić.

The professionalization of political parties has significantly altered the means by which parties interact with voters and supporters. The current study is an attempt to examine what these changes in political communication mean for the ability of parties to organize supporters and mobilize them both in a campaign setting and in the longer-term struggle. Habermasian and Gramscian perspectives on the relational aspects of political communication highlight the challenges presented by the growing unidirectionality of communication and the concomitant atrophying of intermediary institutions. Beyond this, the work of Bottici and McLuhan is used to expose the effects of the 'arational' aspects of these changes in both form and content. To test the plausibility of the theoretical insights obtained, the case of the New Democratic Party of Canada is considered. The study concludes by considering the potential of new technological developments for resolving or mitigating concerns identified throughout the thesis. / Graduate

As we speak, analogue film is being phased out of the international film industry. The medium that once reigned in capturing and projecting our world's light and the flow of time, has now been rendered obsolete and replaced by digital media technology. However, analogue film remains, and has come to be increasingly used and investigated in contemporary art. In my essay, I examine how our aesthetic perception of analogue film is changing with this shift to digital film technology. How do we experience analogue film – now that it is both on the verge of disappearing from society and is put in contrast to its digital successor? My investigation is based on the thesis that analogue film is now in a state of change. By analyzing three contemporary artists I attempt to discern how this change is aesthetically articulated, and trace alternative forms of continued existence for analogue film. The British artist Tacita Dean, the Italian artist Rosa Barba and the Swedish artist Alexander Gutke all work with film in their own way, and also in the context of the changed status of analogue film today. Furthermore, I examine the possibility that these artists form an active part of a continuous reshaping of analogue film, which is taking place in the fracture created in this shift to digital media technologies.