Global ETD Search

21	Kreativiteten i Humor : Domängenerella Mätningar av ett Domänspecifikt Område / The Creativity in Humor : Domain General Measurements of a Domain Specific Area Hallberg, Fredrik January 2015 (has links) The aim was to examine whether measurements of creativity as a domain general trait can explain possible connections between a domain general creative performance and one of the creative domain specific areas, humor. Another aim was to examine whether the maladaptive humor styles can explain possible differences in creative performances. An Internet-based survey was used on 281 students from a Swedish university. The survey was composed of three parts consisting of three separate measuring instruments – Sense of Humor Questionnaire (SHQ-6) was used to measure the respondents’ sense of humor, Humor Style Questionnaire (HSQ) measured the respondents’ humor style and Alternate Uses Test (AUT) gave the respondents an opportunity to account for their creative performances. The results showed no significant correlations between the respondents’ sense of humor and their creative performances. Neither could the maladaptive humor styles explain any significant differences in creative performances. However it was found that a low degree of self-defeating humor style had a significant interaction effect on differences in elaboration between low and high degrees of aggressive humor style. Creativity Domain generality Domain specificity Humor Sense of Humor Maladaptive Humor Styles Regression Analysis MANOVA Internet Survey Kreativitet Domängeneralitet Domänspecificitet Humor Sinne för Humor Maladaptiva Humorstilar Regressionsanalys MANOVA Internetenkät
22	Kai Drewes: Jüdischer Adel. Nobilitierungen von Juden im Europa des 19. Jahrhunderts Mindler-Steiner, Ursula 12 August 2019 (has links) No description available. info:eu-repo/classification/ddc/290 ddc:290 info:eu-repo/classification/ddc/940 ddc:940
23	Hörgeräte Papenburg, Jens Gerrit 21 March 2012 (has links) Die Geräte, durch die Musik im Zeitalter der technischen (Re-)Produktion gehört wird, haben sich immer wieder gewandelt. Solche Geräte müssen überhört werden. Nur so kann Musik gehört werden. Trotzdem – so die These der Arbeit – organisieren diese Geräte das Hören und sind Agenturen einer Bewirtschaftung und Technisierung der Wahrnehmung. In der Arbeit wird anhand von zwei Fallstudien aus der Geschichte der Rock- und Popmusik gezeigt, wie solche Geräte sowohl den Hörer als auch die gehörte Musik formieren. Durch Hörtechnologien bilden sich neue Hörpraktiken heraus und die Körperlichkeit des Hörers wird neu bestimmt. Die Anpassung von Klanggeschehen an spezifische Hörtechnologien wird im Mastering – dem letzten Schritt der technischen Musikproduktion – untersuchbar. Die Geräte, durch die Musik gehört wird, sind also weder schlichte Wiedergabetechnologien noch bloße elektrotechnische Artefakte. Vielmehr sind sie Gefüge aus Klanglichkeit, Körperlichkeit und Technologie. Diese werden in der Arbeit als Hörgeräte auf den Begriff gebracht. Die Hörgeräte der Rock- und Popmusik zielen – wie ihre medizintechnischen Verwandten – auf die Materialität der Wahrnehmung. Im Gegensatz zu diesen funktionieren sie jedoch nicht als Prothesen, die an einer gattungsweit postulierten Norm ausgerichtet sind. Statt Normen bergen sie Exzesse – an Serialität und Wiederholung – sowie Eskalationen – von Lautstärke und von hohen und tiefen Frequenzen. Die Arbeit ist in drei Kapiteln gegliedert. Im ersten Kapitel wird die These der Arbeit in Bezug auf theoretische Diskurse der Musik-, Kultur- und Medienwissenschaft verortet und eine begriffliche Systematik entwickelt. Kapitel zwei und drei sind Fallstudien gewidmet. In der ersten wird das Jukeboxhören der Rock’n’Roll-Kultur der 1950er Jahre untersucht, in der zweiten das Soundsystemhören der Disco- und Clubkultur der 1970er bis 1990er Jahre. Die im ersten Kapitel entwickelte begriffliche Systematik macht die Fallstudien vergleichbar. / The devices by which music is listened to in the age of technological (re-)production have changed over and over again. These devices must be imperceptible to the ear. Only then can music be heard. Nonetheless – this is the claim of the thesis – these devices organize hearing and are agents of a cultivation and technization of perception. Based on two case studies from the history of rock and pop music, this thesis reveals how such devices constitute not only the listener but also the music which is listened to. Through listening technologies new listening practices emerge and the corporality of the listener is newly defined. The adaptation of sound to specific listening technologies can be analysed during the mastering process, the last step in technological music production. The devices by which music is listened to are thus neither simple technologies of reproduction nor mere electrotechnical artefacts. Rather, they are assemblages of sound, corporality, and technology. In this thesis these assemblages are called “Hörgeräte” (listening devices). The listening devices of rock and pop music target – like medical-technical “Hörgeräte” (hearing aids) – the materiality of perception. Contrary to medical technologies, however, listening devices do not function as prostheses, which are calibrated according to medical industry standards. Instead, they contain excesses – of seriality and repetition – and escalations – of amplitude and high and low frequencies. The thesis is arranged in three chapters. In the first chapter I situate the main argument of the thesis within discourses of musicology, media and cultural studies, and develop my own terminology. Chapters two and three deal with case studies. In chapter two I investigate jukebox listening in 1950s rock’n’roll culture, whilst in chapter three I explore sound system listening in disco and club culture from the 1970s to the 1990s. The terminology developed in chapter one enables a comparison of the case studies. Kulturwissenschaft Geschichte des (Musik-)Hörens Geschichte des Nicht-Hörens auditive Wahrnehmung Technisierung des Hörens Bewirtschaftung des Hörens Hörgerät Materialität der Wahrnehmung Materialitäten der Musikkultur technisierte Organe Organ gewordene Technik eskalierte Organe Körperlichkeit des Hörens Hörpraxis Mastering Veröffentlichung von Musik technisierter Klang das Vorgehörte das Unhörbare das Ungehörte Mittler vs. Zwischenglieder Musikbegriff Klangkonzept Jukebox Soundsystem Single-Schallplatte Maxisingle Technologieentwicklung Rock’n’Roll Disco House Techno Musikwissenschaft Medientheorie Sound Studies Historische Anthropologie der Sinne Musikalische Vermittlungstheorie History of listening history of non-listening auditory perception technization of listening cultivation of listening listening device materiality of perception materialities of music culture organs and technology corporality of listening listening practice mastering practices of releasing music sound and technology mediator vs. intermediary concept of music concept of sound juke box sound system 7-inch single 12-inch single development of technology rock’n’roll disco house techno musicology media theory cultural studies sound studies anthropology of the senses theories of mediation 780 Musik 48 Musik AP 14900 ddc:780
24	Virtual reality in tourism. Opportunity or pitfall? : Explorative case study of a place-based virtual reality experience of Mariebergsskogen / Virtuell verklighet i turismen. Möjlighet eller fallgrop? : En explorativ fallstudie om en platsbaserade virtuell verklighet upplevelse av Mariebergsskogen Kubitzek, Barbara January 2021 (has links) To what extent can virtual reality be used to induce real-life tourism? This question becomes even more relevant in these covid-19 times. However, research on virtual reality concerning tourism has not engaged substantively with this question yet and thus this study seeks to address this question. This thesis is an explorative case study of the development of the prototype of a place-based virtual reality experience of Mariebergsskogen in Karlstad, Sweden. The purpose of this study is to investigate and show how a place-based virtual reality experience can add value to the experience and promotion of Mariebergsskogen. This thesis goes beyond ocularcentrism highlighting the involvement of senses, the whole body and emotions in experiencing a destination. How can a deeper emotional connection to a destination be evoked through virtual reality revealing the characteristics, uniqueness and rootedness of the place? A geomedia approach is taken that combines a sensitivity to place with media to arrive at a multi-dimensional view of Mariebergsskogen considering place representations, engagements and its roots to history. Place is conceptualized by recourse to Lefebvre’s (2011) spatial triad: lived, perceived and imagined that are in a dialectic relationship. The methodological model created has been informed by the project on place-based digital experiences (PDU) at the University of Karlstad in Sweden. Tourists are considered active agents in creating tourism destinations and this study emphasizes their engagement as co-creators in the prototype development process. A methodological model is proposed that combines a place analysis with workshops consisting of a user study and a co-creation workshop supplemented with insights from interviews with virtual reality developers and stakeholders from Region Värmland and Karlstad Municipality. Virtual reality tourism virtual reality co-creation geomedia place-based virtual reality experiences place marketing Region Värmland Karlstad Municipality Mariebergsskogen experience design interaction design storytelling cultural heritage covid-19 pandemic communication Sweden case-study film 360° Lefebvre digital experiences destination marketing VR film cinematic virtual reality metaverse UX UI Skansen Sweden Visit Sweden Visit Värmland design processes Oculus Quest Google cardboard NFT methodological model PDU innovation marketing Virtuelle Realität Tourismus Marketing Schweden Geomedia Experience Design Kommunikation Covid-19 Pandemie Fallstudie Sinne Kultur Park Umwelt Virtuell Verklighet turism Karlstad Kommun Region Värmland Kommunikation pandemi kulturellt arv plats berättelse Interaction Technologies Interaktionsteknik Earth and Related Environmental Sciences Geovetenskap och miljövetenskap Studies on Film Filmvetenskap Communication Studies Kommunikationsvetenskap Economics and Business Ekonomi och näringsliv History Historia Cultural Studies Kulturstudier Computer and Information Sciences Data- och informationsvetenskap Human Computer Interaction Social Sciences Samhällsvetenskap Humanities and the Arts Humaniora och konst Engineering and Technology Teknik och teknologier Natural Sciences Naturvetenskap

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