This essay revolves around Synchronization management & Synchronization licensing, or in short sync. The development of sync as a career choice and profession has been fast and is still ongoing. It is not until later years that sync has become a proper profession, whereas before it was just part of a publisher or sales person’s regular work. In short, sync deals with the commercial use of copyright protected music. A synchronization manager negotiates fees and licensing agreements while handling the dialogue between commercial businesses, publishers and in some cases song writers. Once a deal has been made a Synchronization license is granted by the owner of the copyrighted music, allowing the licensee (the person wanting to use the material) to use the music according to the agreement. A Synchronization license is most commonly used when a company wants to use music in either commercial, television or any kind of visual media. To get a better understand of Synchronization management a series of interviews were conducted to get three different perspectives. The first interview helped establish what a synchronization manager actually does, and was held with a person who works with the profession in question. To better grasp the song writing point of view when it comes to sync an interview with a person who was writing for sync briefs was conducted. Lastly, a publisher was interviewed to help understand synchronization licensing from a publishing point of view. The result generated by the interviews in combination with already written articles about Synchronization management helped get a better understanding of the profession and how different individuals are using it in their daily life in music. The main question of this essay was to establish if sync is a reliable source of income for “up-and-coming” song writers and music producers.

When navigating a spatially immersive environment like a game, sound can be used to get anapproximate direction and distance of objects, like targets headed for the player. Game sounddesigners can use this knowledge to create interactions. However, processing sound mightalso interfere with players’ abilities to track targets. By reducing the dynamic range of soundswith compression it might change how players interact in games. Whether the ability to trackseveral targets is affected by compression of sounds was investigated with an interactivelistening test where participants were asked to track objects in a game like environment. Thisgame environment was developed through a set of pre-studies that investigated tracking tasksin games and in vision experiments, as well as sound design. The study developed a methodthat is ecologically valid for games and also utilizes prior research in tracking. In the mainexperiment, Subjects tracked four targets among eight objects in four tracking scenarios. Thetracking scenarios were divided into two different conditions, one with compressed soundsand one with uncompressed sounds. Subjects abilities to correctly identify targets in eachcondition were statistically analyzed with a two-paired t-test. The results showed the ability totrack several targets was better in the condition with sounds compressed and the results werestatistically significant.

This paper researches how information in game tutorials can be retained by the player. We use a teach-back framework to see what information the participants’ retained. The purpose of this study is to understand how a video game can communicate vital information about character mechanics and rules with the help of tutorials integrated through level design. This qualitative study was conducted with 15 participants, they played through a Third-Person Action Platformer game which the authors created for this study. The participants were all experienced in this game genre for the sake of the results’ consistency. The results showed that the most effective method is the one that presented most text and restricted player freedom, that being said it is not the preferred method by the participants. This resulted in suggestions that differed from what is presented to them, some of them including demonstrations in the game world and even some audio elements that could be implemented instead of having a text-based tutorial. / I den här studien undersöker vi hur information i spelhandledning kan bibehållas av spelaren, vi använder en undervisningssammanfattning för att se vilken information deltagarna behöll. Syftet med denna studie är att förstå hur ett videospel kan kommunicera viktig information om karaktärsmekaniker och regler med hjälp av handledning integrerad genom nivådesign. Denna kvalitativa studie genomfördes med 15 deltagare, de spelade genom ett Tredje-Person action Platform spel som författarna skapade för denna studie. Alla deltagarna är erfarna i den här spelgenren för att hålla resultaten konsekventa. Den mest effektiva metoden är den som presenterade mest text och begränsade spelarens frihet men det var inte den föredragna metoden bland deltagarna. Det här resulterade i förslag som skilde sig från vad som presenterades för deltagarna, några av de förslagen inkluderade demonstrationer i spelvärlden och vissa ljudelement som kunde ha implementerats istället för att endast ha en textbaserad handledning.

This study examines how the knowledge of that a game belongs to the horror genre affects the players gameplay experience and choices in the game. Ten participants were recruited for the study. First, the participants had to fill in a pre-study form to make sure that they were a part of our target group. During the data gathering the participant was informed of what kind of prototype they were about to play, either a horror prototype or a puzzle prototype. Then they proceeded to play the horror prototype. To gather the data, stimulated recall and semi-structured interviews were used. The data was analysed with an EPP-method. No significant connection were found between the play experience or the choices the player made and the type of information given beforehand to the participant. A connection were found between fear and expectations, that could be linked to knowledge of the horror. / I studien utreds hur vetskapen om att ett spel är av skräckgenren påverkar spelarens spelupplevelse och val i spelet. Tio deltagare rekryterades. Deltagarna fick svara på en förundersökning för att säkerställa att de tillhörde målgruppen, sedan informerades de skriftligt att de skulle spela antingen en skräck -eller pusselspelsprototyp. Efter den skriftliga förvarningen fick deltagarna spela en skräckspelsprototyp som utvecklats för datainsamlingen. Stimulerad återkallelse och semistrukturerade intervjuer användes till datainsamling. Datan analyserades med en EPP-analys. Ingen signifikant koppling hittades mellan spelupplevelsen eller val deltagarna gjorde i spelet samt vilken skriftlig information spelarna tagit emot innan speltillfället. Däremot hittades en koppling mellan rädsla och förväntningar som kunde anknyta till vetskap om skräck.

Detta arbete undersöker hur soniska vågor kan användas som vapen. Särskild vikt läggs vid att förstå hur ljudet avtäcktes från att vara en osynlig och hämningslös energi till att bli en fysiskt producerande våldsam kraft under den megafoniska eran och efter. Uppsatsen argumenterar för att soniska vapen måste föregås av avancerad teknologisk utveckling samt ett intresse för att föra ett annat typ av krig, utan dödsfall och skjutvapen. Flera exempel ges som visar att ljudvapen också ofta används för att kontrollera en population. Sonisk krigsföring fastställs till att innefatta användandet av psykologisk, våldsam och fysisk akustisk kraft för att alternera eller påverka psykiska och fysiska aspekter hos en population, kropp eller folkmassa.

The aim of this study was to investigate the perception of personalization on news applications and to examine to what extent it is seen as an optimal solution for users to receive information. Due to the growth of online news and digital journalism the amount of information that is being published online is significantly higher nowadays than it has previously been. Therefore, a recommendation system called personalization has been introduced to choose content for the reader. Many concerns of personalization have already been brought to light, these concerns are believed to be contributing to filter bubbles and echo chambers. This study will investigate these concerns further in order to understand the users. The methodology used in the study were semi-structured interviews and an analysis based on the concerns brought forward by Borgesius et al. Six interviews were conducted with users and two were conducted with major news organizations in Sweden. The results of the study indicate that users fear personalization will cause filter bubbles and polarization due to them only being subjected to one perspective. The users are unaware as to how personalization works and therefore question why it is being introduced into news applications. Due to personalization being a new phenomenon news applications it is not yet seen as an optimal solution by users or news organizations. There are, however, many factors that can assist in its development such as transparency and awareness of the phenomenon.

Sociala medier är ett hett tema i samhällsdebatten runt om i världen, och det är inte utan anledning. Dagens unga är uppkopplade och håller sig uppdaterade på internet från de vaknar till de lägger sig. Ett av de mest populära och kändaste sociala medier plattformarna är Instagram. Unga lägger på denna plattformen ut bilder i stor mängd. Detta ledde in oss på följande frågeställning: “Vilka visuella normer finns det på instagram?” För att få reda på detta använde vi oss av bildanalyser där vi analyserat bilder från olika instagramkonton tillhörande fem kändisar och tre influencer. Resultatet gav svar om vilka normer som var populärast, samt om det varierade mellan kändisar och influencer. Normerna fick vi fram genom omvärldsanalys och forskning, resulterade i två instagramkonton med namnen, ME1588CSHPL1 och ME1588CSHPL2, där det ena följde normen och den andra bröt normen genom att använda sig av critical design. Vi använde oss av Hooktheory och en skapad ljudmetod för att skapa musik till bilderna. / Social media is a hot topic in community debates around the world, and that's not without reason. Today’s young people are hooked up on the internet and always updated on the newest happenings from they wake up until they go to sleep. One of the most popular and famous social media platforms is Instagram. Young people post many pictures on this platform. This led us to our questioning: "What visual norms exist on Instagram?" To find out, we used image analysis where we analyzed images from different instagram accounts to five celebrities, and three influencers. The result of the analysis gave answers to which norms that was most "popular", and if it varied between celebrities and influences. The norms we got through research and analysis resulted in two instagram accounts with the names, ME1588CSHPL1 and ME1588CSHPL2, where one followed the norms and the other broke the norms through using us of Critical Design. We used Hooktheory and a created sound method to create music for the pictures.

I uppsatens har det gjorts en undersökning för att ta reda på hur barn och pedagoger uppfattartvå varianter av en AR-applikation om prepositioner till barn i förskoleåldern samt vilken avdessa som förefaller vara mer pedagogiskt ändamålsenlig och vad detta i så fall kan bero på. En karaktär i form av draken Kim animerades och användes i AR-applikationen där den tappatsin mössa och behöver hjälp att hitta den. Barn och pedagoger på två förskolor fick först testaapplikationen och medverkade sedan i gruppintervjuer och deltagande observationer. Resultatet visar att pedagogerna uppfattade AR-applikationens båda varianter som lämpligaför lek och även att de förefaller vara pedagogiskt ändamålsenliga. Barnen tyckte att bådavarianter av applekationen var roliga att använda. Detta kan delvis förklaras genom att AR ären ny teknologi i förskolan och därför mer spännande än traditionella lekar. Draken Kim fickliv och kunde gå samt leta efter sin mössa. Barnen kunde genom läsplattans AR-teknik styradraken Kim att stå vart de än ville.

Den här studien undersöker om en spelare skulle känna av en dissonans mellan en avatar med fredligt formspråk och en spelmiljö med aggressivt formspråk. En spelbar artefakt i form av ett 2D äventyrspel skapades med en runt utformad avatar ochspetsigt utformade fiender och miljöer där övriga faktorer försökte hållas neutrala. Fem testpersoner spelade igenom spelet och intervjuades för att ta reda på hur dekände och upplevde spelets olika delar. Resultatet antyder att spelarna inte kände av någon dissonans. Detta spekuleras bero på ett fokus på spelande och förutfattade meningar kring grafikens motiv. Framtida arbeten kan fokusera på fler element än bara formspråk för att överdriva uttrycken och undersöka om en starkare dissonans kan upptäckas av spelare.

Based on prior research on concepts such as kinesonic feedback, and the here presented concept of kinesonic perspective, this study investigates whether or not players prefer binaurally recorded Foley over monophonically recorded Foley in a first-person video game environment, and whether or not binaural Foley has an impact on their relationship to, or perception of, the avatar. A game environment was created, in which players could switch at will between two audio modes; one containing binaurally recorded Foley, and the other containing monophonically recorded Foley. In the study, subjects were asked to state their preference between the two modes, motivate said preference, rate the two modes on three attributes, and answer questions regarding their perceived relationship to the avatar. Results showed no statistical significance regarding the preference of the sample, but a potential link was found between subjects’ preference and their perceived believability of the Foley sounds. The qualitative results showed that the binaural Foley had a complex impact on the subjects’ perception of and relationship to the avatar. The qualitative data also showed that subjects generally felt that the binaural Foley originated from their own body. Due to the small sample size and diversity of subject opinions it is however difficult to make any generalizations regarding the average player. Further research could investigate what role sound plays in the player’s ability to embody the avatar, as well as more thoroughly investigate the complex relationship between the kinesonic perspective of the avatar and that of the player.