This PhD research project builds on thirteen years of enquiries as an academic practitioner, developing/critiquing interactive audio-visuals. This approach interweaves theory and practice so that both build on each other. It responds to the need for principles that inter-relate people, digital technologies and environments. The concept of “responsive environments” (RE) is offered as a starting point for the development of principles focusing on people within these environments. A responsive environment is “responsive” in the sense that some form of computer technologies are present and sensing/recording/reacting to people, and an “environment” in the sense that these activities are located in a place and that that place matters in terms of setting the scene, housing the technology and providing a context for the users/visitors. Common themes were extracted from the literature review to draw together previous and, for the most part, separate attempts at theory/practice relating to RE. These themes were complemented by research into contemporaneous activities in the areas of Augmented Reality, Mixed Reality and Locative Media to provided enhancements to the development of three practice projects. These enhancements together with the incorporation of Moore and Anderson’s concepts of “patient”, “actor”, “reciprocator” and “referee” as roles available to those encountering REs led to specific research questions regarding roles, positions, opportunities for repurposing content, learning experiences, the use of sound, visuals and presence, and the assessment of values represented in and through a responsive environment. In each case these questions shift the emphasis of the research towards the experiencing of REs and what they enable rather than the technologies used only. The use of Schwartz and Halegoua’s concept of the “spatial self” further focuses attention of the value in connecting digital expression with real spaces through an RE. This has led to a proposed conceptual framework and principles of practice that can be applied in the area of study of RE to nurture opportunities for participants and protagonists. The latter term is proposed as a means of acknowledging opportunities to make content/concepts in an RE as well as obtain and use them by participation. These opportunities are supported by both synchronous and asynchronous interactions through digital layers using online social media platforms. These platforms enable the archiving of content in a digital layer and/or possibilities for continued social interaction through a digital social layer in relation to the responsive environment. The incorporation of synchronous and asynchronous interactions through digital layers is a major contribution to the concept of REs. A further contribution is the use of the pioneering work of Gordon Pask in both the practice and theory of cybernetics as informing the concept of REs. Pask provided a formulation that expressed how content/concepts could be produced through relationships between people, computers and environments. This approach has been mirrored in other disciplines thus giving additional credence to its value. This discovery provides the impetus for further research, by academic practitioners and others, in this developing area of study.

This thesis is a theoretically based critical analysis that aims to explore the effects of media on young people and provide a deeper understanding of the processes of media education associated with critical thinking, creativity, and identity formation through active engagement of youth in digital media production. This critical analysis is informed by the insights from critical social theory (including Frankfurt Schools critical theory and postmodernist thought), and a Whiteheadian perspective in process philosophy for lifelong learning. This research explores the argument towards different views from different assumptions about media effects on young viewers and alternative approaches to media education. This thesis offers a basis upon which to synthesize positive insights from all current media pedagogical approaches into a more cohesive, critical, exploratory, and creative practices of media education. It can potentially offer possibilities in developing critical thinking, critical creativity, and a sense of fulfillment for lifelong learning. The synthesis of this thesis is towards rethinking the creativity as having a vital role in lifelong learning through the creative process of youth media production.

This thesis is a theoretically based critical analysis that aims to explore the effects of media on young people and provide a deeper understanding of the processes of media education associated with critical thinking, creativity, and identity formation through active engagement of youth in digital media production. This critical analysis is informed by the insights from critical social theory (including Frankfurt Schools critical theory and postmodernist thought), and a Whiteheadian perspective in process philosophy for lifelong learning. This research explores the argument towards different views from different assumptions about media effects on young viewers and alternative approaches to media education. This thesis offers a basis upon which to synthesize positive insights from all current media pedagogical approaches into a more cohesive, critical, exploratory, and creative practices of media education. It can potentially offer possibilities in developing critical thinking, critical creativity, and a sense of fulfillment for lifelong learning. The synthesis of this thesis is towards rethinking the creativity as having a vital role in lifelong learning through the creative process of youth media production.

This thesis is an exploratory study of media production classes in Austin, Texas. Through examination of Texas state standards, lesson plans, and interviews with educators, I construct a picture of the content and trajectories of media production education in Austin public high schools. The standards, teachers, production tools, and end products structure the classes toward vocational training, industrial practices, and discourses of digitality and newness. The structures avoid more traditional media study areas, such as history, criticism, and analysis. Despite some concerns about student’s vulnerability and desires to empower them, the teachers also largely avoid discourses of media literacy. This study lays a foundation for further exploration of the ways in which media production education structures students’ understanding of media, as well as for reflection on the necessity of more direct media education and media literacy intervention in young people’s highly productive and media-rich lives. / text

No description available.

Purpose: This project aims to create and develop an external podcast for IBM Sweden to strengthen the IBM Brand and be an attractive employer on the swedish market. Results: The result of this project is a podcast episode with the focus on careers within IBM, edited in Adobe Audition and published on IBM Box. The concept implements storytelling and the report covers the process from concept development to finished product.

<p>”A designer rarely works alone”. The first sentence of Jonas Löwgren and Erik Stolterman's chapter on design as a social process made me curious. What if a designer worked alone? What are the actual differences between working on a project alone and as part of a group? How would it influence the creative process? What would be different when coming up with ideas, meeting with clients and setting deadlines? Does the influence of another designer stifle the individual creativity or does it actually nurish it? This paper is written to answer these and other questions as well as take you through the creative process of the production of ”Daddy” - the music video.</p>

Understanding the process of transformational change currently taking place in the media industry is an urgent challenge for people working in the industry as well as for media consumers and other stakeholders. There is a great need to deepen our general knowledge when it comes to what the future media landscape will look like. Which of the major consumption trends that exist today will continue and possibly lead to disruptive change? Which of today’s existing trends could give us a hint of tomorrow’s media landscape? Furthermore, we need to explore the environmental impact of the future media landscape. What parameters are important when it comes to environmental aspects of media consumption, as well as in the production and distribution of media content? These are examples of the questions explored in this thesis. I have used a number of methods, such as qualitative interviews, workshops, scenarios, case studies, process studies and life cycle assessment, in order to explore the research questions. The characteristics of the media consumption trends are presented in four scenarios. I have assumed that the strength of influence from the government in combination with the strength of commercial powers will strongly affect the future of media. The development of media is framed by the economy, the political system, and by culture. The future of media is closely connected with its relationship to the power structures in society. I have also defined eleven parameters, as central when discussing the environmental aspects of media consumption. These parameters are related to electronic devices, travel, transportation, energy use and waste. In the future, we may see the realisation of some of all four scenarios described in this thesis. The environmental aspects of these different future directions depend on each person’s life situation and a number of choices that each consumer makes concerning environmental issues, in combination with the overall societal structure. In relation to the global challenge of climate change/global warming, I conclude that traditional media, public service media in particular, together with social media channels play an important role in the process of increasing knowledge and awareness among consumers, politicians and other stakeholders in society. However, in current media development, media companies are rapidly becoming more commercialized and more focused on entertainment instead of on producing serious journalism concerned with social, political and cultural matters. To conclude, I believe that it is possible to create a sustainable media system, but it will require some conscious effort of people working in the media industry, of consumers, and ultimately at the level of regulatory authorities. / <p>QC 20150416</p>

This thesis is a study of how the Swedish media company MTG Radio has developed new strategies and production practices in relation to technological change, new competition and media convergence during the first decade of the 2000s. During this period the media landscape in general has been marked by digitization, the rise of new media platforms and competition from new media companies. The study engages in an ethnographical perspective on media production, but also takes its starting point in political-economic theories on media work (Banks 2007, Hesmondhalgh &amp; Baker 2011, Ryan 1992) in order to raise questions about the relation between technological and organizational changes and relations of power in production. Empirically, the thesis builds on interviews with production staff as well as an analysis of production documents and content produced by MTG Radio. The analysis shows that digital production technologies contribute to anincreased automation and centralization of control over editorial decisions, and hence to “de-skilling” (Braverman 1974/1999, Örnebring 2010). On the other hand, strategies of multiplatform production and the organizational changes taking place contribute to an “upskilling” (Edgell 2012) and give DJs and presenters more autonomy and control within production. This strengthened autonomy involves their possibilities for reflexivity and critical self-evaluation, as well as their control over content and production. Finally, the thesis connects these results to the more overarching question of alienation, arguing that upskilling and increased autonomy do not automatically create better jobs within the media house, or necessarily represent emancipatory possibilities within media work, as has been argued in previous research and theory.

Made available in DSpace on 2017-07-21T14:42:34Z (GMT). No. of bitstreams: 1 JOAOCARLOSDOLIVEIRA.pdf: 1171586 bytes, checksum: ce9c802ba44e6880ff4acb2722be9f91 (MD5) Previous issue date: 2007-07-20 / This study has as objective to verify if the familiar farmings of Ponta Grossa (Pr) use the means of mass communication as a tool when searching for useful information for their productive activities. In this way, it has been made interviews using research forms with 60 producers from small rural communities that fit in the conceptual characteristics of familiar agriculture. As the object of the study is inserted in the relationship between the media chanells and the producer, were also analyzed productions related to rural communication by radio, newspaper, and television, besides a poll, using forms with radio stations in Ponta Grossa. The methodology used was the quantitative and qualitative empirical investigation, and also documental researches and oral interviews. Theoretical reflections are supported by authors that discuss the communication, from its importance and its relationships between emission and reception of the media messages. The perspectives in the general study pointed out the importance of the communication that takes place into the social processes. The particular basis presents a critical analyzes of the production of the channels directed at rural places and an understanding of the audience that receives the messages. For a better knowledge of the object of the study, the bibliographic researches presents a historical formation, a present conjuncture and a conception of familiar agriculture, either as in national terms as in a particular character of the county. The results certify that the studied public has access to the main media channels and knows about the most popular forms of production in this field. Nevertheless, the use of media as a tool in their rural activity is not a current practice between them. / A presente dissertação tem como objetivo verificar se o agricultor familiar pontagrossense utiliza os meios de comunicação de massa como uma ferramenta na busca de informações que sejam úteis para a atividade produtiva. Para tanto, foram feitas entrevistas através de formulários de pesquisa com 60 pequenos produtores que se enquadram nas características conceituais de agricultura familiar. Como o objeto de estudo se encontra nas relações entre os canais de mídia e o produtor, também foram analisadas produções voltadas para a comunicação rural em rádio, jornais e televisão, além de mais uma pesquisa, via formulário, junto às emissoras de rádio de Ponta Grossa. A metodologia utilizada foi do levantamento empírico quantitativo e qualitativo, além de pesquisas documentais e entrevistas orais. As reflexões teóricas são sustentadas por autores que discutem a comunicação, a partir da sua importância e as relações entre emissão e recepção das mensagens midiáticas. As perspectivas levantadas no estudo geral apontam para a importância da comunicação mediada dentro dos processos sociais. A fundamentação particular apresenta uma análise crítica da produção dos canais para o meio rural e um entendimento de quem é o público receptor de tais mensagens. Para melhor conhecimento do objeto de estudo, pesquisas bibliográficas apresentam a formação histórica, a conjuntura atual e a conceituação do agricultor familiar, tanto em termos nacionais como no caráter particular do município. Ao final do trabalho foi possível constatar que o público estudado tem acesso aos principais canais midiáticos e conhecimento das formas mais populares de produção para o meio. No entanto, não é prática corrente entre eles o uso da mídia como uma ferramenta dentro da atividade rural.