Live nu! is an essay in media and communication studies covering 15hp. The authors have, by interviewing five Swedish companies, looked at how Periscope as a livestreaming medium is viewed and used for marketing purposes, as well as how it has changed the media climate of today. This by analysing the interwievs in a theoretical context based on theories conserning user generated content and the concept of Webb 2.0 as well as theories on marketing and the creation of value for costumers. Henry Jenkins theory about convergence culture was also applied. Discourse analysis is the method used in the qualitative work that make the foundation of this essay. The material was analysed and categorised using tools such as nodal points, chains of equivalence and articulations. Theories on marketing, user generated content and Webb 2.0 were then used to make a deeper analysis of the content. The results of the study shows Periscope viewed by Swedish companies as a tool to create content on costumers terms. A type of content built on trustworthiness, transparency and, if used in the right way, interactivity. Periscope is seen as a way to achieve a more personal dialog with the target group and to strengthen the brand whilst giving costumers value outside of consumable products.

Approved for public release; distribution in unlimited. / This research develops a detection rate model to analyze the effectiveness of the RDR 1500B search radar installed in the CASA 212 S43 aircraft belonging to Venezuelan Naval Aviation. The model is based on a search and detection mission to find a diesel submarine executing an incursion inside the Venezuelan Caribbean Sea area, assumed to be intermittently operating with periscopes or masts exposed above the sea surface. The analysis obtains cumulative probability of detection vs. time based on the radar manufacturer's performance data, user inputs for aircraft search area size, search speed, and search altitude, and submarine periscope or mast exposure profile. The model can use given periscope radar cross section data, or roughly calculate radar cross section given assumptions about exposed periscope height above the sea-surface and sea-state conditions. Submarine evasion due to radar counterdetection is also modeled. / Lieutenant Commander, Venezuelan Navy

The tool, the practice and the spatial experience.     Painting to see the room Drill a small, almost invisible hole in the center of the canvas and see the room through it.   Grapefruit: A Book of Instructions and Drawings by Yoko Ono      I det här projektet har jag formgett och byggt en uppsättning analoga verktyg som kan användas för att utforska rum.  Jag är har tittat på hur verktygen får oss att se nya kvalitéer i arkitekturen och ger oss förståelse för vår egen relation till rummet.     I verktygen har jag använt ramar, speglar och rör som på olika sätt beskär, förskjuter, skapar en distans eller access i rummet .   Upptäckterna delar jag sedan med mig av genom illustrationer, som hämtar inspiration både från serier och arkitektoniska representationer.   Med illustrationerna vill jag skapa en diskussion och en medvetenhet om hur vi upplever rum och arkitekturen. / Painting to see the room Drill a small, almost invisible hole in the center of the canvas and see the room through it.   Grapefruit: A Book of Instructions and Drawings by Yoko Ono     In this project I have designed and built a set of analog tools that can be used to explore a space.  I have been looking into how the objects make us see new qualities in the architecture and give us understandings about our relationship to the space.    The elements  I have worked with are frames, mirrors and tubes that in different ways cut, shift, create distances or access in the space.     I am sharing my findings through illustrations, inspired by both comics and architecture representation. With the drawings I want to stimulate the debate and create an awareness on how we experience spaces and architecture.

The aim of this study is to highlight the significance of the prohibition of making any image of God as found in the second commandment of the Decalogue in Exodus 20:4-6 with its inner-biblical interpretations in Exodus 32:1-6 and in Isaiah 40:18-20. This study has discussed the close connection between the prohibition of making any image of God in the second commandment of the Decalogue, the idea of Yahweh’s incomparability in the introduction and the command to worship God only in the first commandment. God’s incomparability prevents Israel from worshipping any other god by making images of them or making any image of God. The ‘construct of the introduction and the first two commandments of the Decalogue’ serves as a linchpin concept in our understanding of the prohibition of making any image of God. The aniconism matriculated in the second commandment of the Decalogue in Exodus 20:4-6 in relation with the introduction and the first commandment in Exodus 20:2-3 forms the basis for the prohibition of making any image of God from the Sinai event onwards. This construct in Exodus 20:2-6 is shared with Exodus 32:1-6 and Isaiah 40:18-20. There an inner-biblical interpretation of the aniconism of the second commandment of the Decalogue in Exodus 20:4-6 in reaction with the introduction and the first commandment in Exodus 20:2-3 explicates and applies the meaning of the command in a new situation. Chapter 1 deals with the statement of the problem and the hypothesis of this study, its methodology, theological rationale, and the aim of this study. Chapter 2 discusses that the prohibition of making any image of God in the second commandment of the Decalogue in Exodus 20:4-6 is important, not only as a phenomenon in the Pentateuch, but also as the provenance of aniconism in the rest of Old Testament. Exodus 20:4-6 can be considered as the explicit traceable provenance of the prohibition of making any image of God in the Pentateuch and the rest of Old Testament. The ‘introduction and first two commandments of the Decaologue construct’ provides a framework within which the meaning of the prohibition of making any image of God in the second commandment can be understood in the context of the introduction of the Decalogue in Exodus and the first commandment of the Decalogue. The second commandment of the Decalogue is sometimes backed up by only the first commandment of the Decalogue and sometimes by both of them. The origin of the second commandment of the Decalogue in Exodus 20:4-6 as the prohibition of making any image of God whether it comes from the early or later stages of Israel’s history is discussed with the discussion on the arrangement of the Decalogue in the Sinai pericope (Ex 19:1-24:11) and the relation between the two Decalogues in Exodus 20:2-17 and Deuteronomy 5:6-21. The sharp differences of opinions on the provenance of the prohibition in the second commandment of the Decalogue in Exodus 20:4-6 is dealt with. This study supposes that the dating of the prohibition on making any image of God of the Decalogue should be attributed to Moses’ time as stated in the text of the Pentateuch. Chapter 3 deals with one key Pentateuchal text for the prohibition of making any image of God, Exodus 32:1-6, as an example that the second commandment represents the prohibition on making any image of God in relation with the introduction and the first commandment of the Decalogue proclaiming God’s incomparability, which is called ‘the introduction and the first two commandments of the Decalogue construct’ in this study. Exodus 32:1-6 is regarded to be an interpretation of the prohibition of making any image of God in the second commandment of the Decalogue in Exodus 20:4-6. Chapter 4 deals with Isaiah 40:18-20, which forbids idol-fabrication and the worship of an image of God in its relation with the proclamation of God’s incomparability, as well as with the worship of other gods and their images. This chapter deals with the similarity of the negative attitude toward worship of God through images found in the legal and prophetical parts of the Hebrew Bible. Theologically speaking, Isaiah’s message is in line with the Pentateuch, and flows from the office of the prophet as a plenipotentiary of God to condemn the transgression of the covenantal law. This similarity of the idea between them is seen in respect of its linguistic aspects. Considering the rules of the nature of analogies between texts, there can be seen a correlation between the introduction and first two commandments of the Decalogue in Exodus 20:2-6 and the passage dealing with the incomparability of God and the idol-fabrication in Isaiah 40:18-20. The final chapter summarizes the flow of the argument in this thesis dealing with three phenomena of aniconism in the Old Testament and suggests the conclusion of this thesis based on the result of the exegetical and thematic study on the three passages. / Thesis (PhD)--University of Pretoria, 2011. / Old Testament Studies / unrestricted