I dagens samhälle är intresset för dokumentärfilmer större än någonsin och flera dokumentärfilmer lyfter upp ämnen som berör, engagerar och upprör människor. Samhällsdebatter har inletts efter att dokumentärfilmer har publicerats. Syftet med denna uppsats är att bidra till ökad kunskap om hur retoriska grepp och berättarstrategier samverkar, skapar engagemang och legitimitet i dokumentärfilmen om artisten Josefin Nilssons livshistoria. Studiens metod är en kritisk retorisk analys och studien har sin grund i både retorisk teori och Bill Nichols dokumentära berättarstrategier. Dokumentärfilmens dominerande appellform var pathos argument och den deltagande strategin genomsyrade dokumentärfilmen. Resultatet visade också att det finns en etisk problematik med att representera en annan människas liv.

Den här studiens syfte har varit att ta reda på hur informationsmaterial om odling kan utformas språkligt för barn mellan 3–6 år för att de ska kunna ta till sig informationen, samt hur samspelet mellan text och bild kan öka barnens intresse för ämnet.Under arbetets gång jag utfört en intervju med en förskollärare, en deltagande observation på en förskola och två textanalyser – strukturell analys och stilanalys. Målen med de valda metoderna har varit att få en större inblick i vad barnen gillar och hur de interagerar med liknande material idag. Det teoretiska fokuset har legat på begriplighet och samspelet mellan text och bild.De slutsatser jag kunnat dra efter denna studie är att samspelet mellan text och bild spelar en avgörande roll för hur väl målgruppen förstår och tar till sig innehållet, och att informationen ska vara konkret med tydliga exempel. I litteraturen är det viktigt med kausalitet, framför allt när man skriver för barn och därför ska det finnas tydliga orsakssamband i texter för barn.

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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2017 / Cataloged from PDF version of thesis. / Includes bibliographical references (pages 74-79). / Scientific visualizations are central to the representation and communication of data in ways that are at once efficient and effective. Numerous data types have established unique formats of representation. In the context of three-dimensional (3D) data sets, such information is often presented as a 3D rendering, a video or an interactive application. The purpose of such visualization is often to emulate the physical, three-dimensional world; however, they remain inherently virtual. Recent advancements in additive manufacturing are making it possible to 'physicalize' three-dimensional data through 3D printing. Still, most 3D printing methods are geared towards single material printing workflows devoid of the ability to physically visualize volumetric data with high fidelity matching their virtual origin. As a result, information and detail are compromised. To overcome this limitation, I propose, design and evaluate a workflow to 'physicalize' such data through multi-material 3D printing. The thesis focuses on methods for voxel-based additive fabrication at high spatial resolution of three-dimensional data sets including - but not limited to point clouds, volumes, lines and graphs, and image stacks. This is achieved while maintaining the original data with high fidelity. I demonstrate that various data sets - often visualized through rasterization on screen - can be translated into physical, materially heterogeneous objects, by means of multi-material, voxel-based 3D printing. This workflow - its related tools, techniques and technologies contained herein - enables bridging the gap between digital information presentation and physical material composition. Developed methods are experimentally tested with various data across scales, disciplines and problem contexts - including application domains such as biomedicine, physics and archeology. / by Dominik Kolb. / S.M. / S.M. Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences

Thesis advisor: William Gamson / If anyone in the media were to openly claim that a political rally is "a rally is a rally," they would no doubt befall a windstorm of strong reactions from those who feel their contributions to politics and to the cause for which they are rallying uniquely important. Today, it is not only those on the left that would make this claim but also conservatives who have been defending their right to rally and forging their own brand of "grassroots". It is safe to say that no one would overtly make this claim, however the media's actions in this case are stronger than their words. Through the use of stale framing packages, the mainstream media is displaying that the "Restoring Honor Rally," the "One Nation Working Together March" and the "Rally to Restore Sanity/Fear" are essentially the same due to their nearly identical forms. Analysis of samples from the coverage of the three mega-rallies reveal what these media packages are and what issues go unnoticed as a result of such systematic reporting. Therefore, this paper goes about identifying those stale media frames, displaying the way in which the media relied upon the form of the events to dictate the nature of the reporting consequently hindering a deeper understanding of the functions. / Thesis (MA) — Boston College, 2011. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Sociology.

Tesis para optar al grado de Magíster en Lingüística mención Lengua Española / La lectura es una actividad trascendental para el desarrollo del pensamiento y la adquisición de conocimientos en cada uno de los ámbitos de la vida humana. Esta se entiende como un proceso dinámico y multidisciplinar en el cual intervienen factores físicos, psicológicos, sociales y culturales por parte del lector (Colomer y Camps, 1996; Condemarín, 2005; García Madruga, 2006; Parodi, 2005; Peronard, 2009; Sánchez, 1993; Solé, 2005; Tapia, 2005; Van Dijk, 1980; entre otros). Durante la lectura, se despliegan una serie de procesos cognitivos y metacognitivos que le permiten al lector extraer, interpretar y reflexionar sobre la información que les brinda el texto. Por tanto, la presente investigación caracterizó las estrategias que utilizan estudiantes de nivel secundario en la resolución de tareas de lectura explícita e implícita y analizó qué relación tienen estas con sus resultados en comprensión lectora. Además, se observó qué procesos cognitivos y metacognitivos se desprenden de la aplicación de estas estrategias. Para ello, se aplicó un test de lectura a estudiantes de segundo año de enseñanza media en el que se resolvieron ejercicios de comprensión lectora. Luego, se les entrevistó respecto de la metodología de resolución que aplicaron en los ejercicios con la finalidad de detectar sus estrategias de comprensión. En suma, se detectaron las estrategias de recuerdo, búsqueda de información y relectura global y local como las más frecuentes en este tipo de tareas. Además, se evidenció el carácter estratégico de los lectores más competentes en cuanto a la diversificación de estrategias para resolver una tarea de lectura.

In recent years, virtual reality (VR) has become more common within the media industry and with its increasing popularity, spatial audio reproduction methods such as ambisonics have got more attention. But how humans perceive auditory events in VR is an ongoing research topic and there is a need for keep evaluating the reproduction methods used for it. Even though humans’ auditory distance perception in natural and laboratory conditions has been investigated in many previous studies, little has been made in VR environments. Thus, there is a need for keep investigating how humans estimate sound source distances in VR and which recording techniques that results in most accurate estimations. This study aimed to investigate human’s accuracy in sound source distance estimations in VR, when sound sources have been recorded with an artificial head or first-order ambisonic (FOA) microphone. Three different reproductions methods were used in the study: artificial head, FOA-tracked binaural and FOA-static binaural. In a VR environment, twenty-three subjects were asked to position a virtual loudspeaker at the same position as a sound source. The results showed no significant differences between the three reproduction methods. In the results it was also shown that the subjects clearly overestimated the sound source distances. A possible reason is that the subjects underestimated the size of the virtual environment.

Går det att skapa ett akustiskt trumsätt med hjälp av enbart skar du hittar i ditt hem? Detta visade sig vara en mycket komplex uppgift där jag försökte skapa en hihat, virvel och en bastrumma genom att hitta, spela in och mixa trumliknande ljud hemma. Dessa ljud kombinerade jag sedan till ett trumkomp som jag använde som bas för ett kort enklare musikstycke jag improviserade. Jag spelade även in ett riktigt trumset för att kunna jämföra dem. Musikstycket visade jag sedan upp för ett antal lyssnare som sedan skulle gissa vilket som var vilket och varför det drog den slutsatsen. Det visade sig att majoriteten av mina testlyssnare kunde ganska enkelt höra skillnaden mellan trummorna även fast alla förstod vad jag försökte skapa med mitt hemmagjorda trumsound. Det som avgjorde det tydligast var enligt mina lyssnare var att de riktiga trummorna hördes tydlig att jag slog med trumpinnar och att anslaget var riktigt. Min slutsats är att du inte kan skapa ett helt trovärdigt trumset med hemmaprylar, men du kan komma en lång bit på vägen dit.

The dissertation offers a historical inquiry about how television's material traces entered archival spaces. Material traces refer to both the moving image products and the assortment of documentation about the processes of television as industrial and creative endeavors. By identifying the development of television-specific archives and collecting areas in the 1950s to the 1970s, the dissertation contributes to television studies, specifically pointing out how television materials were conceived as cultural and historical materials "worthy" of preservation and academic study. Institutions, particularly academic and cultural institutions with archival spaces, conferred television with a status of legitimacy alongside the ascent of television studies in the 1960s and 1970s. Institutions were sites of legitimation, however, television's entrance into these archival spaces depended on the work of various individuals within academic, archival, and industrial structures who grappled with defining television's intangible archival values and dealt with material obstacles. In examining several major institutions and the factors at play in archiving television, we can trace how television was valued as worthy of academic study and conceptualized as historical evidence. The following research questions structured this historical inquiry: How did different institutions approach television as archivable in the 1950s to the 1970s? Who were the determinators within these institutions, who could conceptualize television as archivable? What were the factors that enabled television's material traces to enter archival spaces? How did television directly or indirectly enter these archival spaces? Drawing on historical methods, the research primarily examined the archives of the archives, meaning institutional documents that illuminated the archival process and perceptions about television and media. The dissertation focused on five case studies: the Museum of Modern Art, the Mass Communications History Center at the State Historical Society of Wisconsin, the Wisconsin Center for Film and Theater Research, the UCLA Film and Television Archives, and the Museum of Broadcasting. These case studies represent the various institutional contexts that applied an archival logic to television. Cultural institutions, academic archives, and industry-initiated archives worked as sites to legitimate television, transforming ephemeral broadcast moments into lasting historical and cultural material.