My installation, "The Viewers", consists of three life-sized figures and a projected video feed. The figures are placed in and around the gallery space, and the video originates from a hidden camera installed in one of the figures eyes. The first figure that the viewer encounters upon entering the gallery space is hyper-realistic security guard. His position behind the gallery circulation desk, a space which is traditionally assumed not to be an 'art space' allows him to view those entering the gallery while remaining relatively unnoticed. A camera that is installed in his one of his eye sockets and hidden behind sunglasses feeds live images that "he perceives" to another part of the gallery where they are projected. The second figure is a male soldier, positioned covertly on a lighting ledge connected to the ceiling of the gallery. From his high-post, he can clearly view the gallery's occupants through his binoculars, while only being noticeable himself from particular angles. The third figure is a real person dressed as a gorilla. Throughout the evening, he will move through the gallery, viewing and contemplating the artworks and its viewers as well. The purpose of the gorilla is primarily to view the exhibit and the social interaction generated by the gallery setting, but inevitably, viewers will want to interact with him, drawing them into the playful drama of the piece as a whole. Together, and through their individual means of viewing, each figure alludes to the idea of playing a part: the security guard in his fulfillment of the role of a security guard, the soldier in the almost costume-like quality evoked by his camouflage attire, and the gorilla being fairly obviously a performer in costume. That each is in a sense playing a role, and that each has a particular means of viewing the people in the gallery, suggests the additional roles and importance of the fourth element, that of the viewers. My work aims to suggest that the viewers are always playing a part of sorts when viewing an exhibition: the part of the viewer. This references not only the integral nature that the viewer has in defining the meaning of an artwork, but also the role that the viewer agrees to take on – the set of assumptions and mode of viewing the art as ‘art’ – as soon as one enters the gallery space.

This project explores notions of seeing and knowing, underpinned by performative and phenomenological fields of enquiry that relate this exploration to the sensate experience of the viewer. A specific interest considers ideas of embodied vision with an aim at generating events that vacillate in the bodies of the audience. A primary focus is on the arena of encounter as a multi-sensory experiential event, and within this context this project proposes a temporal and spatial framework for exploration. Studio methods develop a cinematic-body of video work negotiating performative practice involving video projection and temporality. Pivotal goals are to explore the significance of the ‘chiasm’ between seeing and knowing, raising questions about how humans see, and how humans make how they see matter. Therefore, this thesis project progresses along experimental approaches to video installation, particularly in relation to the phenomena of encounter, the viewer, and film experience. The central motivation of this video practice is aimed at corporeal affect in the body/s of the audience. This thesis project is constituted as 80% practice-based work accompanied by a 20% exegesis.

This thesis aims to explore the possibilities of improving the viewer experience of a broadcasted football game with the use of additional information, applied to the footage with the use of motion tracking. This work was conducted in collaboration with SVT Design. which is the inhouse department of the Swedish television network (SVT) tasked with designing, developing and creating graphical solutions. One of the systems developed by SVT Design is the character generator Caspar CG. Which is an open source CG system used worldwide for broadcasting productions. In the spring of 2018, SVT Design presented the idea of incorporating a motion tracking feature within Caspar CG. This would be a feature which could be used during broadcasted sporting events to provide the viewers with additional information regarding the ongoing event. With the use of motion tracking, the additional information could be presented in a dynamic manner in the sense that the information would follow the motion of the tracked object. This thesis aimed to answer the following three research questions; What type of information could be displayed? When and how could this information be displayed? and lastly, how could the addition of information change the viewer’s experience of the football game? The conclusions aimed to provide SVT Design with a set of guidelines and requirements regarding the design and implementation of the additional information in a manner that would promote a positive viewer experience. The methodology applied for this thesis was a qualitative methodology utilizing research activities such as semi-structured interviews featuring three staff members of SVTs department of sport productions. The observation of two broadcasted football games. Along with two focus groups in which the participants were presented with a prototype developed in Adobe After Effects. Consisting of footage from the 2010 FIFA world cup along with additional information that was applied with the use of motion tracking. Through the analysis of the collected data, several recurring keywords and notions were identified and translated into requirements. The requirements, which was structured around the three research questions. Is for example that the information needs to be player specific and to provide an insight of the potential outcome of the game. Another example of a requirement being that the information is to be displayed when there is a break in action during the game. The result from this thesis indicated that if the specified requirements were met. The additional information applied during the broadcast could provide an improvement of the viewer’s experience of watching the broadcasted football game.

Understanding conceptual models of business domains is a key skill for practitioners tasked with systems analysis and design. Research in this field predominantly uses experiments with specific user proxy cohorts to examine factors that explain how well different types of conceptual models can be comprehended by model viewers. However, the results from these studies are difficult to compare. One key difficulty rests in the unsystematic and fluctuating consideration of model viewer characteristics (MVCs) to date. In this paper, we review MVCs used in prominent prior studies on conceptual model comprehension. We then design an empirical review of the influence of MVCS through a global, cross-sectional experimental study in which over 500 student and practitioner users were asked to answer comprehension questions about a prominent type of conceptual model - BPMN process models. As an experimental treatment, we used good versus bad layout in order to increase the variance of performance. Our results show MVC to be a multi-dimensional construct. Moreover, process model comprehension is related in different ways to different traits of the MVC construct. Based on these findings, we offer guidance for experimental designs in this area of research and provide implications for the study of MVCs.

This thesis examines the differences regarding thereception between American and Swedish reviews of the Swedish film, The Square (2017, Ruben Östlund). It explores whether or not their differences and similarities reflect different cultural contexts. By analyzing twelve reviews, six from each country, and using a qualitative analysis and reception studies as a theoretical foundation, the thesis have looked at what impacts our cultural understanding of a film like The Square. Janet Staiger’s theories on different type of readers (such as coherent readers, ideal readers, misreaders and competent readers) have also been brought to discussion. Furthermore, four themes have been identified as constantly present throughout the reviews, and they are: modern times, political correctness, the art world, and the disconnection from others. I have compared these themes with each other in order to approach the differences and similarities between the reviews in both countries. The conclusion is that the reviews differ due to what type of reader the reviewers are, and if they are willing to go beyond their cultural framework to try to understand the cultural context, displayed in the film. The thesis is also written from a post-structural perspective, awknowleding how each interpretation says something essential about the themes in the film

Title: Principles of safety measures of sports events organizers without the involvement of police Objectives: The aim of this thesis is a description of security measures at sporting events organizers. Methods: The thesis theoretical style is focused on searching for available sources of study and research, and writing their summary comparing safety measures of the organizers. Results: This work describes the activities of the organizers of sports events and precautions that must be provided prior to each sports organizer game. The work includes development of both selected sports, a description of spectator violence and groups on spectator violence most often involved. Keywords: safety, organizer, sports events, violence, viewer

The social community is structured around data, a lot of that data is stored in different types of databases. The meaning of this essay is to develop an interactive tool that will change the way database visualization is done, and also to research in which fields a tool of this type can be used. With the help of different methods we discovered areas where it could be of use, such as; presentation of a database, development and documentation of a database. The primary goal of the prototype was to make viewing of database structures easier, even people without prior database knowledge should be able to understand the structure. During the development we used prototypes. Their are two types of prototyping, high-fidelity and low-fidelity, both were used during the development. IDQ viewer is a prototype, which shows tables and columns in a database. One of the thoughts behind the tools functionality was that it should be platform independent, and also place independent. The tool became useful in different roles, as a learning tool, a political tool and a technical tool. As a result we can see that the usability of this tool has broadened. There exists a strong public need of tools that will generate this type of database visualization. Further research and further development of new tools are needed in the areas of database visualization.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-01-29T17:14:08Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Ícaro San Carlo Máximo Sampaio - 2014.pdf: 15564487 bytes, checksum: 2dbac2d958b93526d716f1662852a420 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-01-29T17:39:40Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Ícaro San Carlo Máximo Sampaio - 2014.pdf: 15564487 bytes, checksum: 2dbac2d958b93526d716f1662852a420 (MD5) / Made available in DSpace on 2015-01-29T17:39:40Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Ícaro San Carlo Máximo Sampaio - 2014.pdf: 15564487 bytes, checksum: 2dbac2d958b93526d716f1662852a420 (MD5) Previous issue date: 2014-07-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / For a long time, the notion of good and evil was intrinsic to melodrama, which ended up causing it to be seen as an alienating matrix for already giving the viewer a point of view to be followed, that of the hero and, at the same time, a point of view to b e denied, that of the villain. However, it is necessary to investigate the possibilities of a melodrama that is not rooted in representing morals to be followed, but morals to be reflected by the viewers themselves. In the first moment, this article presen ts a study about the birth of the melodrama. The connection between victim and oppressor and the dichotomy that exists in the elemental paradigm of the melodrama also will be purpoused. Lastly, it will be investigated the possibillity of criating melodrama that are not fundamented in the judeo -christian culture; for that, it will be made a study of the movie Ali: Fear eats the soul and The Bitter Tears of Petra Von Kant. / Por muito tempo, a noção de bem e mal foi intrínseca ao melodrama, o que acabou, então, por fazê- lo ser visto como uma matriz alienante por já dá ao espectador um ponto de vista a ser seguido, o do herói, e, ao mesmo tempo, um ponto de vista a ser negado, o do vilão. Contudo, cabe investigar as possibilidades de um melodrama que não esteja enraizado em representar uma moral a ser seguida. Mas sim uma moral a ser refletida pelo próprio espectador. Em um primeiro momento, o artigo apresentará um estudo sobre o surgimento do melodrama. A relação entre vitima e opressor e a dicotomia existente nos paradigmas elementares do melodrama também serão objetos a serem problematizados. Por fim, será investigada a possibilidade de criação de melodramas que não estejam fundamentados na cultura maniqueista; para isto, será feito um estudo dos filmes O Medo Corroí a Alma e Lágrimas amargas de Petra Von Kant.

The main aim of this master thesis is utilization of the laser scanning technology in the field of information modelling of historical objects (HBIM). The optimal workflow of creating the information model in the Autodesk Revit has been demonstrated. The workflow deals with the historical value of the object. For the purposes of this work, the object of the mausoleum Fabara has been selected. Furthermore, the master thesis focuses on the possibilities of publishing the resulting model.

Smart device applications that allow users to interact with a TV show in some way, so called companion apps, are increasingly common. In this paper, we study how the usage of such apps affect viewer engagement when used in groups of three or more people, a common TV viewing scenario. To study these effects, an experiment was conducted, where two participant groups watched multiple clips from a show of their choice, with varying devices running companion apps present. Qualitative analysis of data gathered during these viewings (video recordings, survey responses, and group interviews) show that the usage of companion apps increases viewer engagement in these scenarios by encouraging users to either work together or compete against each other, and that this effect seems to be more prominent among younger viewers. / Applikationer till smarta enheter som möjliggör för TV-tittare att interagera med TV-program de tittar på, så kallade kompanjonappar, blir allt vanligare. I denna studie ämnar vi att undersöka hur användandet av sådana applikationer påverkar tittarnas engagemang i programmet vid TV-tittande i grupper om tre eller fler personer. För att undersöka detta utfördes ett experiment där två deltagargrupper fick välja, och se på, tre klipp från ett TV-program, med olika smarta enheter med tillhörande kompanjonappar tillgängliga. Kvalitativ analys av data från sessionerna (videoinspelningar, enkätsvar och gruppintervjuer) tyder på att användadet av kompanjonappar ökar tittarnas engagemang genom att uppmuntra till sammarbete eller tävling mellan deltagarna, samt att denna effekt verkar mer framträdande hos yngre TV-tittare.