The aim of this study is to understand how leaders in the Canadian radio industry perceive the nascent personalized music streaming service industry, and how those perceptions inform their current business decisions. Over the last few years, Internet-based music services like Deezer and Rdio have launched in Canada, providing listeners with the opportunity of an alternative music experience to conventional broadcast radio. Through five interviews with experts representing terrestrial radio, on-demand services and regulation, three scenarios are presented for the future of conventional radio. In addition, a conceptualized listener profile is created using Grounded Theory Method. This profile buttresses the central finding of this research: should key political, economic and social factors remain in place, conventional radio is likely to continue to dominate as the leading commercial audio platform for Canadians in the years to come.

Although the computer is the new technology, extraordinarily at a fast pace it received huge acclaim from every level of our society, since the new medium is offering very different sort of life inside the computer screen which was beyond our imagination few years back. The virtual environment which is offered by the computer mediated communication proposes new sort of relationship with the new technology. The new media assists us to modify some of our ideas about life on earth. For example, physical immediacy is no longer inevitable for friendship. This thesis paper is designed to conduct an analysis on the life of the diasporic Bangladeshi women in a website called addacafe.com. Everyday a number of Bangladeshi women visit that site. This research paper poses some research questions at the beginning. Through the answers of the questions, the diasporic women’s expectations, desires, and on the whole their daily experiences in the virtual site came out.

The Millennial Generation, typically agreed upon by researchers to be those born from 1982 through 2000, displays exclusive characteristics making it truly different from other previous generations. As of 2000, this generation comprised about one fourth of the total US population, making this cohort's attributes demand consideration. The Millennials are quickly becoming a large factor in the workforce, now finishing college and becoming active consumers in the economy; hence, rapidly becoming a large portion of the traveling population as well. Because this generation is the first to be exposed to the Internet from birth, generally retain positive, trusting views of companies, and have a constant need to congregate with friends and family, questions arise regarding how and to whom Millennials complain, possibly engaging in negative electronic word-of-mouth. Negative e-WOM is especially pertinent to the travel industry due to the potentially extensive harmful outcomes it can cause for practitioners. Therefore, an explanatory study was conducted with a research design that applied a qualitative approach in efforts to gain further insight to the complaint behaviors of the Millennial Generation. Research questions to whom Millennials complain were asked, as well as how and why Millennials complain in certain ways. Findings indicate Millennials typically voice complaints to friends and parents in efforts to discuss their emotions concerning the complaint and obtain their advice on the complaint. In the rare cases where Millennials do complain directly to the company, the relational aspects, convenience, and quickness of response the media offers influence which media Millennials use to issue the compliant.

This project examines how social media is being used by individuals within the State Department engaged in public diplomacy and how the use of these technologies may or may not represent a paradigm shift in diplomatic operation. Assessments of social media and government in popular culture argue a fundamental shift has taken place in government operations. Yet this argument calls for theoretical examination using communication theory and via examination of organizational praxis. Using Ammon's criterion for paradigm shift in communications technology and diplomacy, I evaluated State's current program of social media and public diplomacy called 21st Century Statecraft. I conducted a content analysis of organizational Twitter feeds and also interviewed actors within the organization working with public diplomacy and social media. I also examined historical accounts of State's Voice of America radio program, and compared current organizational uses of social media with the appropriation of radio in the second half of the 20th century. The results suggest that paradigm shift has not yet occurred despite the uses of the new technologies. In many cases, social media is being used akin to technologies from previous paradigms due in part to the constraints of organizational structures. Twitter platforms were used as spaces to push information and policy to the masses, similar to the ways in which radio was used after World War II and throughout the Cold War. Organizational actors characterized social media as a tool to accomplish public diplomacy, not as the change agent those outside of the organization have argued it to be. They described organizational challenges of incorporating social media including questions of voice, information control, and doing 'in-reach' inside the organization. Finally, they described aspects of the interaction that took place as an opportunity to create dialogue amongst interested citizens around the world and to come into face-to-face contact with individuals outside the embassy. Although anomalous practices have begun to emerge as a result of new media's use in the State Department, we have not reached what Kuhn would term a 'critical mass,' necessitating a shift in worldview and practice.

Contemporary interactive computer-based artworks are examined, with particular reference to the problems and opportunities presented by their relationship to their audience in conventional gallery settings. From an anecdotal starting point, the research uses a series of observational case studies of exhibited works, the production of an interactive artwork, and the curation of an exhibition of interactive artworks, to explore pragmatic questions of the artwork/audience relationship in real-world situations. A range of existing taxonomies for kinds and levels of interactivity within art 'are examined, and a `common-language' taxonomy based on the metaphor of `conversation' is developed and applied. -The case studies reveal patterns of use of interactive artworks including the relation of use-time to gender, aspects of intimidation, and social interaction. In particular, a high frequency of collective use of artworks, even when the artworks are designed to be used by one person, is discovered. This aspect of collective versus individual use, and interaction between audience members is further explored by several strands of research: The development of an interactive artwork specifically intended to be enhanced by collective usage and interaction between users; the application of a metaphor of 'conversation/host' to the making of the artwork; further, more specific, case studies of such artworks; and the further development of the taxonomy into a graphic form to illustrate differences in artwork-audience, and audience-audience relationships. The strands of research work together to uncover data which would be of use to artists and curators working with computer-basedin teractive artworks, and explores and develops tools which may be useful for the analysis of a wide range of artworks and art production

This thesis is an investigation of politics in the context of digital technologies. Its central claim is that technologies of what I call the digital ensemble express a politics that is very different from that of other technological ensembles. In order to come to an understanding of politics in the digital, this thesis explores three broader themes by way of discussions of three different technologies or assemblages of the digital. While I do not aim to establish an overarching conclusion as to a politics of the digital, I do identify both elements that are common among the three themes and where they diverge from one another. The first theme concerns the operation of power in the context of the database and examines how subjects are acted upon. I argue that databases represent both an amplification of the disciplinary mode of power and, as a product of that amplification, also express a new mode of power referred to by Deleuze as modulation. It is this concurrent operation of these two modes of power that produces the subject as 'dividual', both object and objectile at the same time, which has a number of consequences in terms of how subjects are controlled and governed. The second theme considers how the subject is constituted as actor and how this relates to the construction of the political in the context of the digital ensemble. This is achieved by way of looking at the concept of the interface. I argue that digital technologies constitute very different practices or forms of doing, both spatially and temporally. Using a broader phenomenological approach, I argue that these technologies constitute very different forms of being than that of the individual that is so central to much of modern political thought and its construction of the political. A key expression of the political in the digital ensemble, I argue, is the interface, enabling the production of a new human-machine assemblage constituting itself as flow/s. The third theme is an exploration of the conceptualisation of political action in the context of digital technologies. Here I make use of the technological assemblage of the network in exploring the actions of fluid beings. I argue that modern political thought has always conceptualised political action as the action of solid entities acting upon and in relation to other solid entities. In the context of digital technologies, however, I argue that such a conceptualisation of action is not very useful; if one conceptualises the actor as fluid, then so must its actions be conceptualised as fluid. It is in such a context that concepts of flow and turbulence gain great importance in coming to terms with politics in the digital. Indeed, to the extent that a digitisation of politics can be discerned, I argue it makes much sense to think of it as a politics of fluidity.

Emerald is a short animated film that merges three techniques within its narrative: 3D computer animation, 2D hand-drawn animation and live-action HD video. Additionally, the beginning and end credits include two more: 2-D computer animation in Flash and 16mm film cut-out animation shot on an Oxberry stand. Each of the three main techniques is personified by a character in the narrative and represents a particular space with different connotations about new and old media.

The author is focusing on issues of opera in new media in her work. The introduction defines and decribes the concept of new medias. After that, author is especially focusing on presentation of operas which are broadcasted live into Czech cinemas, history of this relatively young phenomenon and its gradual develepment. As a next topic mentioned in the author's work is possibility to watch live broadcasts or records via particular websites of theatres. Finally, the author is describing internet websites, which are dealing with the opera issues, history, content and specifics. The author is summarizing other options how to present opera.At the end of the work, the author is trying to characterize meaning and benefits of the new medias for today's opera and opera audience.

This dissertation proposes a new framework for understanding how argumentation and rhetorical action unfold in digital space. While studies in the field of rhetorical theory often address new discursive practices in spaces like Twitter and Facebook, they do not always assess the ways that the platforms themselves can influence the forms and conventions of argumentation. Similarly, the field of new media studies has attended to the structural and technical components of digital platforms, but rarely views these details through a rhetorical lens. Thus, this dissertation combines the two disciplines by approaching its thesis from two angles. First, it employs major scholarly and theoretical work from the field of rhetorical studies to determine the ways in which digital rhetorical practices align with or differ from previous ones. Second, it combines new media scholarship with close readings of digital texts, in order to examine how argumentation functions across different media platforms. This interdisciplinary approach provides unique insight into the ways that media platforms and rhetorical practices coevolve. The dissertation’s central term, “emergent arguments,” marks an epistemological shift away from the idea that an argument resides within a single text or narrative. Instead, arguments emerge from sustained and engaged interactions with digital communities, from explorations of hyperlinked trails of information, from patterns of images, words, and datasets. In digital space, knowledge is constructed communally, meaning that argumentation takes place in collaboration with a community. The project follows closely with the work of Aristotle and Perelman and Olbrechts-Tyteca, where argumentation is an inherently social act driven by cultural context and shared knowledge. The dissertation builds upon this premise by claiming that digital media make this sociality visible, traceable, and more dynamic than previous communicative platforms. It ultimately argues that in digital space, meaning itself is social, intertextual, and multimodal.

This thesis investigates how sport is employed in the new media age as mediated sport goes through the liminal phase of new media. Set against the contextual background of recurrent ‘moral panics’ that accompanied each new wave of media innovation, this study aimed to chart young people’s involvement in sport via the use of new media technology. The thesis concentrated on three research issues: access to, uses of, and the displacement effect of new media. Four major forms of new media were included in the study – digital television, the Internet, mobile telephony and video games. The study used a mixed method design of qualitative and quantitative research methods. The data collection was conducted in two phases: survey methods were first used to examine the audience experience of new media sports, and follow-up interviews of young people were then conducted to investigate motives for media choice and the perceived gratifications of new media sport. ‘Uses and Gratifications’ theory was utilised as the theoretical basis for examining user motives. Eight hundred valid responses were obtained from the questionnaire-based survey [a response rate of 94%] and follow-up interviews were conducted with 12 young people [selected purposively among volunteers from the pool of questionnaire respondents]. A key conclusion drawn from this thesis is that the Internet did not displace televised sport. The findings also suggest that the use of new media sport can have positive effects on sport and physical activities participation. Conversely, there was no support for the popular perception that media users participate in sport and physical activities less; many of them were in fact active in the pursuit of sport and physical activities.