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Firstly, this research is a collaboration with Granny’s Dancing on the Table, a transmedia film project in which the public has the chance to affect a film script through different social media channels. Before the actual film release there will be different game-episodes released in connection to the film. I have mainly been in contact with the game company Ozma, a part of the ‘Granny team’ working on cross-media games for the project. This thesis is a side-project with the aim of exploring a more “hidden universe”, which can later be applied to the design process.Secondly, the research provides a broad picture of the dilemmas faced when applying cryptic design strategies in an urban environment. I explore a few design qualities, how they can enhance user experience and make the user curious about hidden artefacts found on the street or in a public environment. I approached the problem by placing experiments linked to one of Granny’s Dancing on the Tables’ social media channels, in the streets and institutions of the Möllan neighbourhood in Malmö, Sweden. I collected information from both field studies and the interaction design world, regarding the application of design qualities to an artefact. Moreover, I based the research on street art, human behaviour, the psychology of curiosity and visual perception within the field of (transmedia) experience design. Based on my findings from these experiments and interviews I have come up with a set of guidelines to use when applying “hiddenness” to an artefact or design concept.

Research shows that young people of today read less and less fiction based on a negative attitude towards reading. At the same time, multimodal media is an increasingly growing part of what the school is expected to focus on. The purpose of the following study is to contribute with knowledge about upper secondary school teachers views on the relationship between multimodal media and students' reading pleasure in literature teaching. This is then discussed from Linda B. Gambrell's research-based perspective on the promotion of reading motivation and transmedia storytelling. By interviewing four practicing Swedish teachers from one upper secondary school, it becomes clear which multimodal media teachers at the school use and how they use these in literature teaching. The results of the study show that teachers use multimodal media such as film, pictures, theater, audiobook and podcast. The teachers experience that multimodal media function as a gateway to fiction in that these media arouse interest and stimulate students in a way that only traditional reading is not experienced as doing. Students get the opportunity to experience one and the same story through different media. At the same time, teachers value the traditional reading of printed text highly in a way that the use of multimodal media should not take place at the expense of traditional reading.

En la presente tesis analizamos el impacto de las tecnologías digitales en el contexto de los museos, y cómo su inserción demanda la evolución del concepto de museografía hacia una museografía 4.0. Gracias a la reciente llegada de nuevos dispositivos de realidad virtual y aumentada hemos podido definir las principales características que esta museografía debería contemplar, entre las que queremos destacar su capacidad para crear experiencias inmersivas que permitan la incorporación de información digital en el espacio expositivo de una forma natural, creando narrativas que fomenten la interactividad y la participación. Una museografía capaz de diseñar experiencias que se adapten inteligentemente a las necesidades de los visitantes, y permitan la interacción social tanto dentro como fuera del museo, mediante el uso de diferentes medios tecnológicos. Para poder validar desde la praxis algunas de las características de esta museografía 4.0 creamos una serie de experiencias prototipo sobre gafas de realidad aumentada, del tipo visión a través (view through). Con ellas, hemos buscado crear una simbiosis entre elementos reales y virtuales para experimentar nuevas formas narrativas, donde lo virtual y lo real dialoguen en un mismo plano perceptivo. En concreto, en esta tesis, exponemos y evaluamos el desarrollado de las aplicaciones: Jardín, una experiencia piloto para presentar datos digitales sobre cuadros y objetos; Holomuseum, una herramienta de autor diseñada para crear y componer exposiciones holográficas en salas de museos; y Almoina AR, un proyecto definido sobre la colección concreta del museo arqueológico de la Almoina de Valencia, donde se experimenta con un personaje holográfico ficticio que sirve de guía para presentar de forma natural un relato sobre la vida en la ciudad de Valencia durante la época de la República Romana. Relato articulado a través de secuencias con reconstrucciones 3D, música y animaciones que aparecen sobre el propio espacio expositivo del museo y sus ruinas. Como consecuencia de este análisis y experimentación, hemos logrado desarrollar una metodología funcional que ya puede ser utilizada en las prácticas museísticas, y así lo hemos validado con el diseño y desarrollo de nuestras experiencias. Estamos convencidos de que este tipo de prácticas lograrán recuperar la esencia de estas instituciones como lugares sociales en los que relacionarse con otras personas y mantener una experiencia directa y enriquecedora con el patrimonio. / TOWARDS A MUSEOGRAPHY 4.0. DESIGN OF IMMERSIVE EXPERIENCES WITH AUGMENTED REALITY DEVICES In this thesis we analyze the impact of digital technologies in the context of museums, and how their insertion demands the evolution of the concept of museography towards a museography 4.0. Thanks to the recent arrival of new virtual reality and augmented reality devices we have been able to define the main features that this museography should contemplate, among which we want to highlight its ability to create immersive experiences that allow the incorporation of digital information to the exhibition hall in a natural way, creating narratives that encourage interactivity and participation. A museography capable of designing experiences that intelligently adapt to the of visitors' needs and allow social interaction inside and outside museums, using different technological means. In order to be able to validate some of the characteristics of this museography 4.0 from practice, we created a series of prototype experiences on augmented reality glasses, of the view through type. With them, we have sought to create a symbiosis between real and virtual elements to experience new narrative forms, where the virtual and the real dialogue on the same perceptual level. Precisely, in this thesis, we expose and evaluate the development of applications: Garden, a pilot experience to present digital data on paintings and objects; Holomuseum, an authoring tool designed to create and compose holographic exhibitions in museums; and Almoina AR, a project defined on the specific collection of the archaeological museum Almoina in Valencia, where a fictional holographic character is used as a guide to present in a natural way a story about life in the city of Valencia during the time of the Roman Republic. The story is articulated through sequences with 3D reconstructions, music and animations that appear on the museum's exhibition space and its ruins. As a result of this analysis and experimentation, we have managed to develop a functional methodology that can already be used in museum practices, and we have validated this with the design and development of our experiences. We are convinced that this type of practice will recover the essence of these institutions as social places in which to interact with other people and maintain a direct and enriching experience with heritage. / CAP A UNA MUSEOGRAFIA 4.0. DISSENY D'EXPERIÈNCIES IMMERSIVES AMB DISPOSITIUS DE REALITAT AUGMENTADA En la present tesi analitzem l'impacte de les tecnologies digitals al context dels museus, i com la seva inserció demana l'evolució del concepte de museografia cap a una museografia 4.0. Gràcies a la recent arribada de nous dispositius de realitat virtual i augmentada hem pogut definir les principals característiques que aquesta museografia hauria de contemplar, entre les quals volem destacar la seua capacitat per crear experiències immersives que permeten la incorporació d'informació digital en l'espai expositiu d'una forma natural, creant narratives que fomenten la interactivitat i la participació. Una museografia capaç de dissenyar experiències que s'adapten intel·ligentment a les necessitats dels visitants, i permeten la interacció social tant dins com fora del museu, mitjançant l'ús de diferents mitjans tecnològics. Per poder validar des de la praxi algunes de les característiques d'aquesta museografia 4.0 vam crear una sèrie d'experiències prototip sobre ulleres de realitat augmentada, del tipus visió a través (view through). Amb elles, hem buscat crear una simbiosi entre elements reals i virtuals per experimentar noves formes narratives, on el virtual i el real dialoguen a un mateix pla perceptiu. En concret, en aquesta tesi, exposem i avaluem el desenvolupament de les aplicacions: Jardí, una experiència pilot per presentar dades digitals sobre quadres i objectes; Holomuseum, una eina d'autor dissenyada per crear i compondre exposicions hologràfiques en sales de museus; i Almoina AR, un projecte definit sobre la col·lecció concreta del museu arqueològic de l'Almoina de València, on s'experimenta amb un personatge hologràfic fictici que serveix de guia per presentar de forma natural un relat sobre la vida a la ciutat de València durant l'època de la República Romana. Relat articulat a través de seqüències amb reconstruccions 3D, música i animacions que apareixen sobre el propi espai expositiu del museu i les seves ruïnes. Com a conseqüència d'aquest anàlisi i experimentació, hem aconseguit desenvolupar una metodologia funcional que ja pot ser utilitzada en les pràctiques museístiques, i així ho hem validat amb el disseny i desenvolupament de les nostres experiències. Estem convençuts que aquest tipus de pràctiques aconseguiran recuperar l'essència d'aquestes institucions com a llocs socials en què relacionar-se amb altres persones i mantenir una experiència directa i enriquidora amb el patrimoni. Paraules clau: Museu, realitat augmentada, experiència immersiva, interactivitat, disseny, museografia, museologia, intel·ligència artificial, interactivitat, Realitat Virtual, realitat mixta, transmèdia, social, educació, tecnologia, / Martí Testón, A. (2018). Hacia una museografía 4.0. Diseño de experiencias inmersivas con dispositivos de realidad aumentada [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/107375 / TESIS

El presente trabajo busca presentar las experiencias de cuatro mujeres jóvenes a partir de una narrativa transmedia en la que se evidencia cómo los procesos vitales se entrelazan con los procesos artísticos. Consideramos que nuestra propia enunciación en este proyecto es útil para reivindicar nuestra autopercepción y subjetividades femeninas, e intentar a partir de este ejercicio motivar a otras mujeres a pronunciarse fuera de los símbolos hegemónicos que nos han representado durante mucho tiempo. A lo largo de este proyecto se tratarán los temas del proceso creativo, las subjetividades femeninas y la intervención digital como un intento de crear un lenguaje cinematográfico propio. La realización de nuestro proyecto se llevó a cabo a partir de conversaciones grabadas en Zoom y Google Meet, que fueron revisadas posteriormente y que sirvieron como estructura para la edición del proyecto. Como resultado se obtuvo un cortometraje de aproximadamente 30 minutos conformado por conversaciones e intervenciones digitales que expresaban nuestro sentir respecto a los temas que iban apareciendo. Como conclusiones sostenemos que no habíamos experimentado antes un espacio como tal en el que pudiéramos conversar y cuestionar experiencias que tuvieron repercusión en nuestra identidad. También nos percatamos de la necesidad de representación que desde pequeñas no habíamos encontrado, y por eso decidimos representarnos a nosotras mismas. Por último, al final de la ejecución nos dimos cuenta de que los procesos vitales siempre interfieren con los procesos creativos, y que muchas veces el proseguir con proyectos de esta naturaleza implica resistir. / This paper seeks to present the experiences of four young women from a transmedia narrative in which it is evident how life processes are intertwined with artistic processes. We consider that our own enunciation in this project is useful to vindicate our self-perception and feminine subjectivities, and to try to motivate other women to speak out of the hegemonic symbols that have represented us for a long time. Throughout this project, the themes of the creative process, feminine subjectivities and digital intervention will be discussed as an attempt to create a cinematographic language of our own. The realization of our project was carried out from conversations recorded in Zoom and Google Meet, which were later reviewed and served as a structure for the editing of the project. As a result, we obtained a short film of approximately 30 minutes made up of conversations and digital interventions that expressed our feelings about the topics that were appearing. In conclusion we maintain that we had not experienced before a space as such in which we could talk and question experiences that had an impact on our identity. We also realized the need for representation that we had not found since we were children, and that is why we decided to represent ourselves. Finally, at the end of the execution we realized that life processes always interfere with creative processes, and that many times continuing with projects of this nature implies resisting.

Cette thèse de doctorat de recherche-création comporte un essai doctoral en français ainsi qu'une bande dessignée: une bande dessinée vidéographiée bilingue en langue des signes québécoises (LSQ) et français, composée de 10 chapitres-vidéos. / C’est tombé dans l’oreille d’une Sourde. La sourditude par la bande dessignée est une recherche-création composée d’un essai doctoral et d’une bande dessignée - une bande dessinée bilingue en langue des signes québécoise (LSQ) et en français (BD*) - produite à partir d’extraits de rencontres avec des personnes sourdes et des membres de ma famille entendante réalisées dans le cadre de la thèse. Par une démarche exploratoire, la recherche vise à documenter et à réfléchir à ce que cela fait de vivre comme personne sourde, à la sourditude comme devenir, à l'entendance comme concept pour réfléchir à certains rapports de pouvoirs ainsi qu’aux enjeux communicationnels, technologiques et médiatiques soulevés par les perspectives épistémologiques sourdiennes. C’est en partant du postulat que l’oppression est ce qui est éprouvé à travers des pratiques quotidiennes souvent bien intentionnées (Young, 1990) et avec le désir de composer avec l’exigence du multiple (Deleuze et Guattari, 1980) que s’est développée la question générale de la thèse : En la posant comme un devenir complexe, comment l'expérience singulière de la sourditude, son affectivité et son effectivité se conçoivent, s'actualisent et se communiquent-elles? Cette question se pose dans son articulation avec le lieu où elle prend forme, à savoir la réalisation d’un essai doctoral et d’une BD*, dont le processus sert de milieu exploratoire à diverses questions d’ordre philosophique, théorique, épistémologique, éthique, artistique et politique qui, à leur tour, nourrissent la démarche. Utilisant la vidéo comme forme d’écriture apte à rendre compte de la tridimensionnalité des langues des signes et de leurs composantes linguistiques, la BD* est produite sous forme de chapitres vidéo diffusés sur un site Internet. Produite en noir et blanc, elle comporte des vidéos de protagonistes signant la LSQ, éditées avec un effet de dessin animé, des textes en français disposés dans des phylactères et des arrière-plans édités avec un logiciel de graphisme. Écrit sous forme de dissertation, l’essai comporte cinq chapitres. De façon sommaire, l’introduction présente la recherche-création, la question de recherche et les différentes parties de l’essai; le chapitre 1 intitulé « Les possibles de la sourditude » met en jeu quelques éléments afin d’appréhender la sourditude dans sa complexité, problématise et historicise la sourditude en tant que processus, devenir et appartenance, théorise diverses dimensions de l’oppression, interroge l'expérience subjective comme site de savoirs et propose une analyse critique du concept de sourditude; le chapitre 2 intitulé « Parcours de recherche-création » s’articule autour de la démarche de réalisation de la BD*, documente mon approche de la recherche-création, interroge ma posture épistémologique à travers le paradoxe de vouloir contribuer à « faire entendre des voix sourdes », discute des enjeux soulevés par l’écriture vidéographiée, s’intéresse aux enchevêtrements du cinéma et de la sourditude sous divers angles et discerne certains enjeux relatifs à la situation de la BD* aux confins des codes de la littérature, du cinéma et de la BD; le chapitre 3 intitulé « La production de la bande dessignée » s’attarde de façon plus précise aux diverses étapes de réalisation de la BD*, aborde les rencontres réalisées avec cinq Sourd-es et quatre membres de ma famille entendante, documente le processus de production et postproduction de la BD* en soulevant certains enjeux sur le plan de la traduction et du montage, analyse de façon critique l’Internet comme plateforme de diffusion et présente le site Internet www.BDLSQ.net; la conclusion intitulée « Quelques enjeux posés par la sourditude » propose certaines réflexions issues des rencontres, interroge la question des technologies à travers la notion de sourditude et du handicap, amorce une réflexion sur l’agentivité conférée par les media numériques et se termine en soulevant quelques enjeux politiques et éthiques concernant le développement des études sourdes et des perspectives sourdiennes. / Résumé en langue des signes québécoise (LSQ) disponible à l’adresse Internet suivante : V. Leduc. 2016. « C’est tombé dans l’oreille d’une Sourde. La sourditude par la bande dessignée ». Résumé LSQ. En ligne: https://vimeo.com/190658903 / Abstract in American Sign Language (ASL) available on the following website : V. Leduc. 2016. "It Fell on Deaf Ears. Deafhood by Graphic Signed Novel". PhD thesis, ASL Abstract. Online: https://vimeo.com/190659491 / It Fell on Deaf Ears. Deafhood by Graphic Signed Novel (C’est tombé dans l’oreille d’une Sourde. La sourditude par la bande dessignée) is a research-creation project consisting of a doctoral essay and a bilingual graphic signed novel in Québec sign language (LSQ) and in French, produced from excerpts of encounters with Deaf people and with members of my hearing family that have been carried out as part of the thesis. Through an exploratory process, the project seeks to document and to reflect upon what it means to live as a Deaf person, about Deafhood as becoming, about hearingness as a concept that can be used to think about certain power relations, as well as about the communicative, technological and media issues that arise from deafian epistemological perspectives. From the assumption that oppression is experienced through often well-intentioned everyday practices (Young, 1990), and from an interest in dealing with the requirement of multiplicity (Deleuze and Guattari, 1980), was developed the broad question of the thesis: while positioning it as a complex becoming, how can the singular experience of Deafhood, its affects and effects, be conceived, actualized and communicated? This question is posed through its articulation with the site where it takes shape, namely the creation of a doctoral essay and a graphic signed novel, the process of which serves as an exploratory site for various philosophical, theoretical, epistemological, ethical, artistic and political questions, which, in turn, feed the process. Using video as a form of writing that is able to account for the three-dimensionality of sign languages and of their linguistic components, the graphic signed novel is produced as video chapters distributed on a website. Produced in black and white, it features videos of protagonists signing in LSQ edited with a cartoon effect, French text inscribed in speech bubbles, and backgrounds that have been edited with graphic design software. The production team and the project are presented in LSQ, ASL, French and English on the website www.BDLSQ.net. Written in the form of a dissertation, the essay includes five chapters. In summary, the introduction presents the research-creation project, the research question and the different parts of the essay. Chapter 1, titled “The Possibilities of Deafhood”, brings together elements that help us understand Deafhood in its complexity, problematizes and historicizes Deafhood as a process, becoming and belonging, theorizes various dimensions of oppression, questions the subjective experience as a site of knowledge, and provides a critical analysis of the concept of Deafhood. Chapter 2, titled “Trajectory of Research-Creation”, revolves around the process of making a bilingual graphic signed novel; documenting my research-creation approach, and questioning my epistemological stance through the paradox of wanting to make “Deaf voices heard”. The chapter further discusses issues raised by videographed writing, is interested in the entanglements of film and Deafhood from various angles, and identifies some questions related to the place of the graphic signed novel in relation to the confines of the codes of literature, film and the graphic novel. Chapter 3, titled “The Creation of the Graphic Signed Novel”, focuses more specifically on the various production stages of the graphic signed novel. It addresses the meetings held with five Deafs and four members of my hearing family, documents the production and postproduction processes of the graphic signed novel while raising some issues related to translation and editing, analyzes, in a critical way, the internet as a distribution platform, and introduces the website www.BDLSQ.net. The conclusion, titled “Some Challenges Posed by Deafhood”, offers some reflections stemming from the meetings, interrogates the question of technologies through the notions of Deafhood and disability, proposes a reflection on agency afforded through digital media, and ends by raising some political and ethical issues related to the development of Deaf studies and perspectives. Keywords : Deafhood, graphic novel, digital art, signed litterature, video, transmedia, Deaf Studies, Critical Disability Studies, intersectionality, audism, Quebec Sign Language.

Considérant l’environnement numérique qui se caractérise par la convergencedes modes et des formes discursifs, à quels cadres les auteurs et les lecteurs héritiers de la bande dessinée se référent-ils et de quelle manière s’y réfèrent-ils ? Il s'agit de comprendre comment des auteurs confrontés à de nouveaux dispositifs de publication produisent le sens commun nécessaire à la création de récits numériques dont les lecteurs parviennent à partager les standards de transcription, tirent des routines d’usage pour leur interprétation, et jugent attrayante la sélection et la mise en forme des évènements racontés. Après avoir présenté lecontexte dans lequel ont émergé les premiers récits identifiés comme des « bandes dessinées numériques de création », l'étude porte sur l'analyse indexicale d'entretiens conduits auprès des auteurs et des lecteurs de deux de ces récits. L'analyse fait apparaître l'originalité des assemblages de cadres de références opérés par les auteurs et reconnus de leurs lecteurs. Cette étude montre ainsi l'importance des dynamiques de production de sens dans l'invention et l'adoption de nouvelles formes narratives. Le retour critique sur ce travail soulève plusieursquestions méthodologiques, notamment quant à la place du chercheur en tant qu'acteur engagé dans la production de sens, mais aussi quant à la prépondérance accordée au mot dans ce type d'étude, et enfin quant aux modalités d'entretien les plus favorables à la recherche et à l'élucidation des marques indexicales par lesquelles s'expriment les cadres de référence des acteurs. / What are the frames to which authors inspired by the comics legacy refer inthe digital environment, characterized by the convergence of media and discursive forms ? How do they refer to such frames in order to make sense and to tell digital stories from which readers are able to share the standards of translation, find routines for their interpretation, and feel entertained by the selection and the arrangement of events ? After setting the context in which emerged the first accounts identified as « original digital comics », the study focuses on the indexical analysis of interviews with authors and readers of two such stories. The analysis reveals the originality of the frames arrangements made by the authors and recognized by their readers. This study shows the importance of sensemaking activities for the invention and adoption of new narrative forms. The critical review of this work raises several methodological issues, particularly regarding the place of the scientist as an actor engaged in the sensemaking activity, but also about the the importance given to words in this kind of researches, and finally about the appropriate interview methods in order to find and explain indexical marks leading to the actors' frames

Esta dissertação tem como objetivo investigar como características que são inerentes à cultura da convergência podem fomentar a leitura literária. Destarte, tencionamos observar como o uso da tecnologia pode complementar e enriquecer a leitura, através de práticas que possibilitem a junção das mídias tradicionais e as mídias atuais, para assim ressignificar os hábitos de leitura dos alunos. Propomos atividades de leitura participativa e intersemiótica com o uso de dispositivos tecnológicos, que favoreçam o gosto pela leitura e o desenvolvimento de competência de compreensão e de produção de textos narrativos. Utilizamos em momentos diferentes da pesquisa, dois questionários para obtermos dados qualitativos em relação às propostas realizadas. Concluímos que as mudanças nas práticas de leitura em sala de aula são vitais, uma vez que as conversões culturais não podem ser dissociadas das transformações educacionais. / The aim of this thesis is to investigate how characteristics which are inherent to the convergence culture can promote literary reading. Thus, we intend to observe how the use of technology can complement and enrich the reading through practices that enable the joining of traditional and current media, reframing the reading habits among students. We propose participatory and intersemiotic reading activities using technological devices in order to encourage the taste for reading and the development of the competence skills of reading comprehension and narrative text production. In different moments of the research, we used two questionnaires to obtain qualitative data on the proposals made. In summary, we conclude that changes in reading practices in the classroom are vital, since cultural conversions cannot be dissociated from the educational transformation.