Denna studie undersöker hur lärandeprocesser och kreativa skapandeprocesser kan utvecklas i synergi med varandra med fokus på arbete inom programvaror för kreativt skapande. Detta med syftet att bidra med värdefulla insikter kring hur inlärning av programvaror för kreativt skapande kan struktureras för att kunna gynna både lärandeprocesser och skapandeprocesser på ett så bra sätt som möjligt. I denna studie undersöks det visuella programmeringsspråket TouchDesigner. De specifika forskningsfrågor studien utgår från är: Hur påverkar nyupptäckta handlingserbjudanden lärande- och skapandeprocesser? Vilken inverkan har lärandeprocesser på det kreativa handlingsutrymmet? Vilken relevans har meningsfull interaktion inom lärande- och skapandeprocesser? Dessa frågor har strukturerats utifrån det teoretiska ramverk studien förhåller sig till: Creative Space av Swenberg och Eriksson, Illeris lärandetriangel, Didaktisk design, Gibsons affordansbegrepp samt meningsfull interaktion inom Human-Computer Interaction. Metoden analytisk autoetnografi användes för att samla in empirisk data i form av dokumentationer av fem entimmes-sessioner då författaren arbetade i programvaran TouchDesigner, samt intervjuer med andra nybörjaranvändare av programvaran. Resultaten pekar på att en lärandeprocess ägt rum när en användare upptäcker handlingserbjudanden och förstår i vilka sammanhang dessa kan användas. Har interaktionen ej varit meningsfull har lärande ej ägt rum. Upptäckandet av handlingserbjudanden utökar även användarens kreativa handlingsutrymme, det vill säga förmåga att skapa kreativt.

My work attempts to articulate how the format visual information is presented in changes our understanding of the visual information and our relationship to it. I explore analog and digital conversions, the audio and the visual sharing 3 dimensional space, and explore our relationship with screens, information and light. This paper discusses the ideas and underlying themes within my digital works that center around light as a form of information and communication. My work is also related to the transformation of technology that has occurred across many platforms throughout my lifetime. The most striking example is the telephone. The telephone has transitioned from an analog device on the wall that we speak into, to the phone we know today; a computer we carry around in our pocket with a screen we communicate through. This transformation of technology has changed our daily lives in ways past generations only dreamt of. We no longer log on or go online. We are always connected to a network of information, individuals and communities by an endless live stream of data. We live in an information super age, where we have access to nearly the entirety of knowledge humans have been able to acquire. Whether by reading by candle light, or a collection of pixels in the form of a screen, we use light to communicate all of these ideas and information. Social media, global positioning systems and on demand services have reached a point where our actions and nearly everything around us is tied to a computational system. My work attemps to bring this computational system into our physical space, where it can be acknowledged in the form of light and sound. / Master of Fine Arts / We live in an information super age, where we have access to nearly the entirety of knowledge humans have been able to acquire. Whether by reading by candle light, or a collection of pixels in the form of a screen, we use light to communicate all of these ideas and information. The format visual information is presented in changes our understanding of the visual information and our relationship to it. This paper discusses the ideas and underlying themes within my digital works that center around light as a form of information and communication.

"Thank You" Parts I and II is an experiment that attempts to break new ground in the field of anthropological cinema through the reflexive methodology and experience of myself. My establishment of a new theoretical film approach called meta-anthrochaomediacy and its evolution into radical autoethnographic mediation is explored throughout this thesis. I exercised my theory by producing and documenting a reflexive experience built on fostering emotional bonds and social relationships that provided interactivity and choice within an environment as a process of mediation for anthropological study. Part I features a physical installation I designed that exercised the transmission of memories shared with my familial table. Twelve individuals voluntarily experienced this process across 4 sessions in a single day where they interacted with the table, each other, and the memories of places that the table has lived in. The installation was primarily recorded with a 360 camera and subsequently established as qualitative data, as per my theoretical process, to be edited into a film object. Part II is a 58-minute multi-split-screen film that features my theoretical process in action as it expresses the crafting of emerging-in-real-time short term cultures through layers of reflexivity. I edited this film to test my theory towards exemplifying my film and process as anthropological cinema.