Auswahl der wissenschaftlichen Literatur zum Thema „YouTube (site web) – Sémiotique“

Dès le milieu des années 2010, la vidéo d’information et de divertissement en ligne se développe en France. Produite pour le web et les réseaux socionumériques (RSN), elle est d’abord mise en ligne de manière disséminée. Depuis 2018 et la multiplication d’acteurs offrant des contenus similaires, les médias concernés commencent à diffuser leurs productions de façon régulière sur YouTube et les RSN, puis sur leurs sites web. L’article s’intéresse alors à la manière dont ces médias sont parvenus à éditorialiser leurs contenus dans un contexte de concurrence accrue. Davantage, il cherche à montrer que cette éditorialisation repose sur des pratiques médiatiques préexistantes et déjà éprouvées par la presse, la télévision ou la radio. Ainsi, par une analyse sémiotique des pages d’accueil des sites web et des chaînes YouTube des médias Konbini, Brut. et Loopsider ainsi que des marques éditoriales présentes au sein de leurs vidéos de 2013 à 2021, il apparaît que les stratégies de mise en visibilité de ces acteurs s’articulent autour de trois traits distinctifs majeurs : l’éditorialisation croissante des contenus, leur programmation ainsi qu’une volonté accrue de marquer leur identité.

YouTube™ is an online video sharing Web site that is increasingly used in higher education classrooms. In addition presenting content on many diverse topics, YouTube™ rapidly became a rich source of clinical illustrations with relevance for the speech-language pathology classroom. Although professors in health education now take advantage of this resource, no documentation exists regarding students' reactions to the use of YouTube™ in the classroom. The purpose of this study was to survey students' opinions regarding the use of YouTube™ in the classroom. Videos from YouTube™ augmented lecture material in four speech-language pathology classrooms. At the end of the semester, students rated their opinions of the professor’s use of YouTube™ in the classroom and the contribution of the Web site to their classroom experience. All 104 students in the classes surveyed responded. A majority of students reported increased understanding, interest in, and retention of the classroom material due to use of videos on YouTube™.

Purpose – Many video sharing sites (e.g. YouTube, Vimeo, and Break) host user-generated video content in the hopes of attracting viewers and thus profits. Therefore, continuous use and video sharing behavior on the part of site users is critical to the continue enjoyment of other users and to the video service providers business. The purpose of this paper is to provide an improved understanding of what motivates internet users to share videos and spend more time on video sharing web sites. Design/methodology/approach – The authors propose a research model based on Uses and Gratification Theory and on Social Cognitive Theory, incorporating key determinants of web site stickiness. An online survey instrument was developed to gather data, and 265 questionnaires were used to test the relationships in the model. Findings – The causal model was validated using SmartPLS 2.0, and 14 out of 18 study hypotheses were supported. The results indicated that continuance motivation and sharing behavior were important antecedents of YouTube stickiness and mediated the influence of need, personal, and environmental factors. Practical implications – The proposed framework can be used by online video service providers to develop a platform that satisfies user needs and to enhance sharing intention. Originality/value – The study provides a comprehensive framework of the antecedents and effects of continuance motivation and sharing behavior on video sharing web sites.

The purpose of this study is to compare and analyze how many Korean university students used online English learning sites before and after Covid-19, and to examine the expected effects of online English learning for them. Various web-based English sites developed during the pandemic, but among them, the YouTube site showed remarkable growth. In the EFL environment, it is necessary to be exposed to English as much as possible, so the current use of YouTube by college students is helpful for exposure to English. However, since the purpose of using them is mainly focused on fun, they cannot advance to in-depth EFL learning. Now that the traditional teaching method has returned, it is necessary to use existing YouTube materials or develop and provide practical web-based programs to learners familiar with YouTube so that college students learn English effectively even in endemic situations.

Caractérisée par une rupture apparente dans la causalité et un fonctionnement aléatoire, la sérendipité, ou le don de faire une découverte inattendue, interroge les domaines de la logique, de la sémiotique et de la recherche documentaire. Favorisée par la recherche sur Internet et la lecture non linéaire hypertextuelle, la sérendipité tend peu à peu à trouver une place légitime au sein de la recherche d’information. Cette réflexion interdisciplinaire s’ancre dans les domaines de la sémiotique, la logique, la documentation et les cultures numériques. À partir d’une lecture peircienne de la sérendipité, assimilant ce phénomène au concept d’abduction, j’effectuerai une analyse des moteurs de recherche et plus généralement de l’hypertextualité sur le Web 2.0. Les exemples convoqués seront quatre outils de recherche documentaire sur Internet, soit l’encyclopédie en ligne Wikipédia, le site Amazon et les moteurs de recherche Google et Oamos. À partir de ces analyses, il s’agira d’observer les impacts et les limites de la sérendipité dans le champ de la recherche d’information sur Internet. Favorisée par la structure du réseau, la sérendipité apparaît alors comme une disponibilité de l’esprit à l’improbable et soulève également le risque de recherches documentaires malheureuses à travers le phénomène inverse de zemblanité.

Background The COVID-19 pandemic has stunted medical education activities, resulting in most conferences being cancelled or postponed. To continue professional education during this crisis, web-based conferences can be conducted via livestream and an audience interaction platform as an alternative. Objective The unprecedented COVID-19 pandemic has affected human connections worldwide. Conventional conferences have been replaced by web-based conferences. However, web-based conferencing has its challenges and limitations. This paper reports the logistics and preparations required for converting an international, on-site, multidisciplinary conference into a completely web-based conference within 3 weeks during the pandemic. Methods The program was revised, and a teleconference system, live recording system, director system setup, and broadcasting platform were arranged to conduct the web-based conference. Results We used YouTube (Alphabet Inc) and WeChat (Tencent Holdings Limited) for the web-based conference. Of the 24 hours of the conventional conference, 21.5 hours (90%) were retained in the web-based conference via live broadcasting. The conference was attended by 71% (37/52) of the original international faculties and 71% (27/38) of the overall faculties. In total, 61 out of 66 presentations (92%) were delivered. A special session—“Dialysis access management under the impact of viral epidemics”—was added to replace precongress workshops and competitions. The conference received 1810, 1452, and 1008 visits on YouTube and 6777, 4623, and 3100 visits on WeChat on conference days 1, 2, and 3, respectively. Conclusions Switching from a conventional on-site conference to a completely web-based format within a short period is a feasible method for maintaining professional education in a socially responsible manner during a pandemic.

AbstractBackground: Video sharing networks such as YouTube have revolutionized communication. Whilst access is freely available uploaded videos can contain non peer-reviewed information. This has consequences for the scientific and health care community, when the challenge in teaching is to present clinical procedures that follow empirical methods.Objective: To review 50 central venous catheter and peripherally inserted central catheter videos posted on YouTube. The aim was to appraise these videos using current evidenced-based guidelines.Methods: We searched YouTube using the key words central venous cannulation and peripherally inserted central catheter insertion on September 21, 2012. We consecutively reviewed 50 videos for both procedures.Results: There was poor adherence to evidence-based guidelines in the critiqued videos. There was a difference in adherence with the use of appropriate skin antisepsis in the 2 groups (18% for central venous catheters vs 52% for peripherally inserted central catheters; p = 0.009). And a large proportion in both groups compromised aseptic technique (37% for central venous catheters vs 38% for peripherally inserted central catheter; p = 0.940). The use of ultrasound guidance during procedures was also different between the 2 groups (33% for central venous catheters vs 85% for peripherally inserted central catheters; p = 0.017).Conclusions: This critique of instructional videos related to the insertion of central venous catheters and peripherally inserted central catheters uploaded to YouTube has highlighted poor adherence to current evidence-based guidelines. This lack of adherence to empirical guidelines can pose risks to clinical learning and ultimately to patient safety.

A ampliação do acesso às redes sociais tem provocado no público jovem, aparentemente, uma diminuição no aspecto cativante do desejo em ler uma obra literária, em virtude do imediatismo proporcionado pela web. Como peças-chave nesse caminho contemporâneo proporcionado pelo desenvolvimento das tecnologias digitais, da internet e das redes sociais, os booktubers surgiram recentemente no panorama virtual do site de vídeos da empresa Google. Nesse sentido, eles efetuam uma união entre literatura e redes sociais cativando o público para a leitura, seja ela de obras juvenis ou clássicas. No presente artigo, busca-se lançar luz à como a influenciadora Isabella Lubrano, do Canal Ler Antes de Morrer, que hospeda suas vídeo-resenhas no YouTube, articula e expõe suas experiências com a obra literária A morte e a morte de Quincas Berro d’água, de Jorge Amado (2008). Sendo assim, utiliza-se de uma metodologia qualitativa, exploratória e bibliográfica a partir de um quadro teórico que, entre outros, inclui Abreu (2020), Araujo e Saraiva (2021), Candido (2004), Costa (2016) Lévy (1999) e Santos (2013). Os resultados evidenciam que Lubrano ao atualizar a novela amadiana cativa o público espectador de sua produção audiovisual e, assim, colabora para a difusão da obra literária nas redes sociais.

This investigation aimed to determine the use of web 2.0 services in the Catholic University Cecilio Acosta (UNICA) site by the institution, located in Maracaibo city, Venezuela. The theoretical contributions were supported by O'Reilly (2007), Lévy (2004), Rheingold (2004), Surowiecki (2005), Cobo (2007a), among other authors. The investigation comes from a project attached to the UNICA Research and Postgraduate Deanery, was descriptive, an observation guide was applied to collect information from the UNICA website and the 2.0 services to which it is associated as the platforms for vertical social networks YouTube, Instagram and SoundCloud, and platforms for horizontal social networks Facebook and Twitter. Among the most relevant findings was the exclusive use of social networking services for interaction with the university community, without including other services that seek to generate knowledge. It is concluded that UNICA uses web 2.0 services in its site in a limited and non-strategic way, with a purely informative nature that includes specific topics of the university and the catholic church, which could hinder the knowledge management as process of 21st century universities.

O principal objeto de estudo do artigo são os canais vinculados ao site www.youtube.com. A partir do desenvolvimento das redes sociais na internet e o surgimento de plataformas de interligação entre os indivíduos, este ambiente em que passamos a interagir nos levou a grandes transformações, sendo uma das principais a da externalização, ou seja, o que era privado se transforma em público (SIBILIA, 2016). A partir dessa perspectiva, se apresenta como objetivo do artigo “identificar como canais no youtube afetam as pessoas e levam a processos de engajamento, pertencimento e identificação”. Como instrumento científico, foram aplicadas técnicas de pesquisa qualitativa, incluindo entrevistas, grupos de discussão e etnografia na web. Com as teorias que compõem o texto e as análises realizadas, observa-se que a partir dos vídeos publicados nos canais De Pretas e Louie Ponto, seguidores se descobrem, se identificam e passam a se engajar com temas sociais, em um percurso de pertencimento e ativismo social na web.

Cette étude examine l'énonciation polyphonique dans les écrits en ligne, en se focalisant sur celle issue et induite par les interactions sur YouTube lors des feux de forêt en Amazonie. Après une présentation du contexte et des concepts et théories liés à la polyphonie, elle propose un ensemble méthodologique d’analyse de la polyphonie qui permet de saisir d’abord la place des aspects techno-sémiotiques, socioéconomiques, et psychosociologiques de YouTube dans la polyphonie, puis d’interroger cette polyphonie au niveau des autres acteurs médiatiques cités à partir de YouTube. Nous arrivons ainsi à identifier des constances et des changements de configurations polyphoniques au cours de notre période d'observation et à montrer comment ces configurations polyphoniques pendant les feux de forêt d’Amazonie pouvaient être influencées par des variables contextuelles exogènes. Nous constatons aussi des enjeux de pouvoir quand cette polyphonie est utilisée comme stratégie par différents acteurs impliqués dans la controverse sociale autour des feux de forêt d'Amazonie. Cette étude vient compléter les travaux sur l’énonciation éditoriale dans les écrits d’écran en prenant en compte la polyphonie tant au niveau des acteurs en réseau que celle au niveau de l’argumentation
This study examines polyphonic enunciation in online writings, focusing on that which arises from and is induced by interactions on YouTube during the Amazon rainforest wildfires. After presenting the context and the concepts and theories related to polyphony, it proposes a methodological framework for analyzing polyphony that first captures the role of techno-semiotic, socio-economic, and psychosociological aspects of YouTube in polyphony, and then interrogates this polyphony at the level of other media actors mentioned from YouTube. This allows us to identify consistencies and changes in polyphonic configurations during our observation period and to show how these polyphonic configurations during the Amazon rainforest wildfires could be influenced by exogenous contextual variables. We also observe power dynamics when this polyphony is used as a strategy by various media actors involved in the social controversy surrounding the Amazon rainforest wildfires. This study complements previous research on editorial enunciation in screen writings by considering polyphony at both the network actors’ level and the argumentation level

Actuellement les réseaux sociaux, se focalisent sur le partage et échange des opinions, vidéos,photos, musique, actualités et autres informations, un de ses objectifs c’est d’établir des liens directs et indirects avec les utilisateurs. Les réseaux sociaux permettent aussi de promouvoir des produits, des personnes (leur image politique ou artistique) ou des marques influentes.Les réseaux sociaux changent rapidement, pour cette raison on cherche a voir l’évolution de ces outils de partage, et aussi voir comment les réseaux sociaux changent avec le temps.On a l’opportunité d’étudier les événements qui se produisent dans les réseaux sociaux grâce à la quantité des données qui se produisent. Dans le marché actuel il y a des outils qui permettent l’analyse des réseaux sociaux, mais la plus part est payante, et les outils 100% gratuits disparaissent avec le temps. Pour cette raison nous avons décidé de produire des outils informatiques capables d’extraire et analyser les données des réseaux sociaux étudiés.Cet étude commence avec l’état de l’art, ou on décrit le contexte du problème abordé, les travaux qui sont à l’origine de cette étude et un résumé des contributions faites au cours de la thèse que nous présentons brièvement dans le reste du résumé.i. D’abord nous nous focalisons dans l’empreinte géo-linguistique et l’évolution du langage en Twitter. L’accès au contenu des messages envoyés par un groupe des abonnées d’un réseau social peut être utilisé pour identifier et quantifier certaines spécificités d’un groupe.La spécificité peut représenter le niveau d’intérêt pour un événement ou un produit, ou la popularité d’une idée, un hit musicale ou une figure politique. La spécificité peut aussi représenter la façon comment le langage est utilisé et transformé, la façon comment les mots sont écrits et la manière comme apparaissent des nouvelles règles de grammaire.ii. Ensuite nous étudions l’évolution du phénomène culturel appelé mème dans les réseaux sociaux. Les mèmes ont été définies par R. Dowkins comme un phénomène culturel qui se propage a travers de formes non génétiques. Nous examinons trois des plus populaires mèmes de l’internet et nous examinons leur impact dans la société dans les Pays Méditerranéens. Nous utilisons pour les analyses Google Trends, Topsy (un outil pour mesurer la popularité des mots sur Twitter) et YouTube pour quantifier l’impact des mèmes dans la société du Méditerranée.iii. Après cela nous étudions le graphe de recommandations de YouTube basées sur les mesures et les outils stochastiques. Nous confirmons que les listes de recommandations influencent les vues d’une vidéo. Nous nous focalisons sur le système de recommandations qui boostent la popularité des vidéos. Nous construisons en premier un graphe qui capture le système de recommandations dans YouTube et nous étudions la relation entre le nombre de vues d’une vidéo et la moyenne du nombre de vues d’une vidéo dans sa liste de recommandation.iv. Pour conclure nous décrivons les outils disponibles en ligne et les outils que nous avons développés pendant l’écriture de la thèse. Les outils en ligne Topsy, Trendistic et GoogleTrends nous ont permit d’analyser des plateformes comme YouTube et Twitter. On a produit aussi des outils basés sur les API’s : dans Twitter nous avons utilisé la fonction Streaming pour télécharger et analyser les tweets , avec l’API de Topsy nous avons étudié l’évolution de la langue et l’utilisation des mots , et les API’s de YouTube nous ont permis de décrire la façon dont se comportent les listes de recommandations et la popularité des vidéos
Currently social networks focus on the sharing and exchange of opinions, videos, photos, music,news and others informations, one of its objectives is to establish direct and indirect linkswith users. Social networks also promote products, people (their political or artistic image) orinfluential brands.Social networks are changing rapidly, so we’re looking to see the evolution of these sharingtools, and see how social networks change over time.We have the opportunity to study the events that occur in social networks thanks to the amount ofdata they produce. In the current market there are tools that allow the analysis of social networks,but most tools are not free, and 100% free tools disappear over time. For this reason we decidedto produce computer tools able to extract and analyse the data of the social networks studied.This study begins with the state of the art, where we describe the context of the problem, thework that led to this study and a summary of the contributions made during the thesis that wepresent briefly in the rest of the abstract.i. First we focus on the geo-linguistic fingerprint and language evolution in Twitter. Accessto content of messages sent by a group of subscribers of a social network may be usedto identify and quantify some features of a group. The feature can represent the level ofinterest in an event or product, or the popularity of an idea, or of a musical hit, or of apolitical figure. The feature can also represent how language is used and transformed,how words are written and how new grammatical rules appear.ii. Then we study the evolution of the cultural phenomenon called meme in social networks.Memes were defined by R. Dowkins as a cultural phenomenon that spreads through nongeneticforms. We examine three of the most popular memes of the internet and examinetheir impact on society in the Mediterranean countries. We use for analysing Google Trends, Topsy (a tool to measure the popularity of words on Twitter) and YouTube toquantify the impact of memes in the Mediterranean society.iii. After that we study the YouTube recommendation graph based on measurements andstochastic tools. We confirm that recommendation lists influence the views of a video.We focus on the recommendation system that boosts the popularity of videos. We buildfirst a graph that captures the recommendation system in YouTube and we study the relationshipbetween the number of views of a video and the average number of views of avideo in its recommendation list.iv. To conclude we describe the online tools available and the tools that we developed duringthe thesis. The online tools Topsy, Trendistic and Google Trends allowed us to analyseplatforms like YouTube and Twitter. We also produced tools based on API’s: in Twitterwe used the Streaming function to download and analyse tweets, with the Topsy APIwe studied the evolution of the language and the use of words, and the YouTube’s APIsallowed us to describe the behaviour on the lists of recommendations and the popularityof videos

A tese investiga como se apresenta o humor político do Porta dos Fundos em esquetes audiovisuais veiculadas pelo Youtube. Parte-se de um panorama sobre as audiovisualidades para atentar sobre os processos produtivos em relação com o contexto político nacional. Os conceitos de comicidade e humor são acionados a partir de Henry Bergson (1983) e Elias Thomé Saliba (2002), sendo o primeiro tomado como sistema organizador da narrativa a partir da intencionalidade de fazer rir, enquanto o segundo é definido pelo contraste entre o que é e o que deveria ser, acionando uma reflexão crítica que complementa e dá a tonalidade do gesto social empregado pelos humoristas. Para tratar sobre o humorismo audiovisual percorremos a história do riso e do escárnio com Georges Minois (2003), Roberto Elísio dos Santos e Regina Rosseti (2012), entre outros, a fim de resgatar as raízes do riso midiatizado brasileiro. O problema de pesquisa é: Como se dá o humor sobre a política na comicidade audiovisual do Porta dos Fundos? Para responder essa pergunta elencamos como objetivo geral da pesquisa descrever e analisar como se apresenta o humor audiovisual sobre a política em um canal no Youtube - o do Porta dos Fundos, explorando o objeto na relação com o campo do audiovisual nacional, com o contexto político contemporâneo e com a teoria sobre o humor e a comédia. A partir deste, estabelece-se como objetivos específicos: a) descrever as possíveis relações entre a matriz da comédia audiovisual nacional e o humor político veiculado pelo Porta dos Fundos; b) descrever e analisar como os conteúdos audiovisuais apresentam o humor sobre a política do Porta dos Fundos; c) apontar pistas que indiquem elementos de distinção do conteúdo humorístico do Porta dos Fundos no campo do audiovisual contemporâneo Entendemos que para abordar o humor sobre a política do Porta dos Fundos no Youtube é preciso contextualizar a cultura midiática e digital contemporânea, relacionando-a com o contexto político vivido no Brasil durante o período de análise, em busca de um olhar relacional que aponte pistas sobre como os agentes e os campos sociais influenciam-se mutuamente e quais marcas deixam uns sobre os outros. A epistemologia adotada é da sociologia relacional de Pierre Bourdieu (1997, 2002, 2007a, 2007b), que auxilia no tratamento dispensado ao corpus empírico de seis esquetes audiovisuais de humor sobre política veiculados pelo Youtube, entre agosto de 2012 e abril de 2017, e analisados filmicamente a partir das proposições metodológicas de Penafria (2009), Julier e Marie (2009). Como resultado encontramos marcas distintivas do humor do Porta dos Fundos sobre a política a partir das suas estratégias narrativas que privilegiam o sentido de realidade junto ao espectador; um processo produtivo colaborativo que diversifica os conteúdos e fortalece a imagem a marca; uma identidade visual (estética e linguística) mantida mesmo com o rodízio de funções e colaboradores; tudo marcando um fenômeno que emerge em um tempo de lacuna no humor crítico sobre política na TV, políticas públicas que incentivam a produção audiovisual independente e converge com a ampliação da conectividade e cultura digital no país.
The thesis investigates how the political humor of “Porta dos Fundos” in audiovisual sketches transmitted by Youtube is presented. It started by a panorama on the audiovisuals to look at productive processes in relation to national socioeconomic and political contexts. Henry Bergson (1983) and Elias Thomé Saliba (2002) trigger ehe concepts of comics and humor. The first one being taken as the system organizer of the narrative from the intentionality of making laugh, while the second one is defined by the contrast between what is and what should be, triggering a critical reflection that complements and gives the tone of the social gesture employed by comedians. To deal with audiovisual humor, we go through the story of laughter and scorn with Georges Minois (2003), Roberto Elísio dos Santos and Regina Rosseti (2012), among others, in order to rescue the roots of Brazilian disseminated laught. The research problem is: How does the political humor in the audiovisual comedy of “Porta dos Fundos”work? In order to answer this question we have as a general objective of the research to describe and analyze how audiovisual political humor is presented in a channel on YouTube – called Porta dos Fundos, exploring the object in relation to the field of the national audiovisual, with the contemporary political context and with the theory about humor and comedy. From this, specific objectives are stablished: a) to describe the possible relations between the matrix of the national audiovisual comedy and the political humor conveyed by Porta dos Fundos; b) describe and analyze how the audiovisual contents present the political humor of Porta dos Fundos; c) to point out clues that indicate elements of distinction of the humoristic content of Porta dos Fundos in the field of contemporary audiovisual We understand that in order to approach the political humor of Porta dos Fundos on Youtube it is necessary to contextualize the contemporary digital and digital culture, relating it to the actual political and economic context in Brazil during the period of analysis, searching for relational look that points out clues about how agents and social fields influence each other and which brands leave in one another. The epistemology adopted is Pierre Bourdieu's (1997, 2002, 2007a, 2007b), relational sociology, which assists in the treatment given to the empirical corpus of six audiovisual humoristic sketches transmitted by Youtube, in between august of 2012 and april of 2017, and analyzed in the movie by the methodological propositions of Penafria (2009), Julier and Marie (2009). As a result we find distinctive marks of the political humor of Porta dos Fundos from their narrative strategies that privilege the sense of reality with the spectator; a collaborative production process that diversifies the content and strengthens the brand image; a visual identity (aesthetic and linguistic) maintained even with the rotation of functions and collaborators; all marking a phenomenon that emerges in a time that lacs critical political humor on TV, public policies that encourage independent audiovisual production and converge with the expansion of connectivity and digital culture in the country.

A presente dissertação propõe-se a investigar os modos com que a música sobrecodifica a linguagem audiovisual em vídeos para a web, criando novos processos de significação e complexificando a virtualidade musical (compreendida aqui como a totalidade irrepresentável de imagens que a expressam). O site YouTube se estabelece como um lócus privilegiado para tal estudo, pois nele encontra-se uma quantidade significativa de vídeos musicais em que a música se manifesta em todos os elementos audiovisuais, interferindo nos processos de composição audiovisual (tanto na trilha visual quanto na sonora). O que pode deste encontro derivar são atualizações e potencialidades do virtual da música, manifestadas como imagemmúsica. Os vídeos que constituem o corpus são organizados em quatro categorias mais recorrentes, ordenados de acordo com a proximidade que têm com a linguagem do videoclipe, o que permite perceber como, progressivamente, nos vídeos para web, está ocorrendo um processo de autonomização da imagem-música: mashup audiovisual; sampling audiovisual; spoof de shreds; auto-tunning. Essas práticas já estavam contidas, em potência, em audiovisuais anteriores, no cinema, na televisão, na videoarte, no videoclipe – e também nas práticas da música eletrônica –, mas somente na web elas conseguiram se manifestar a pleno. Como referencial teórico para compor o modo como será observado o fenômeno, utilizar-seão as teorias do filósofo Henri Bergson para compreender a virtualidade da música; de Gilles Deleuze, para entender os processos de significação que a sobrecodificação da música exerce sobre o audiovisual, e como ela movimenta suas estruturas através de tal processo; de Nicklas Luhmann, para compor um ponto de observação para os vídeos musicais para web diferente do que tradicionalmente se dirige ao videoclipe televisivo; e de Vilém Flusser, para compreender a natureza das imagens técnicas. Conclui-se que os vídeos para web estudados efetivamente se apartam da lógica do videoclipe televisivo, parte por não dialogarem com a lógica da indústria fonográfica, parte porque a música é resultado da montagem, e não o contrário, como ocorre normalmente em videoclipes; além disso, evidencia-se que a música é capaz de imprimir algo de si nos audiovisuais estudados, e que está ocorrendo uma tendência para a diluição da distinção entre arte figurativa e música: através desses vídeos, mostra-se possível a produção de música imaginativa, derivada da reciclagem de material audiovisual disponível na web.
The present dissertation proposes to investigate how music over-codifies the audiovisual language of web videos, creating new signification processes and complexifying the musical virtuality (here understood as the unrepresentable totality of images that express it). YouTube’s website is established as a privileged locus for such study because it contains a significant amount of music videos in which music manifests itself in every audiovisual element, interfering in the audiovisual composing process (both in the visual and the sound tracks), which is edited according to musical rules. What may come from this encounter are updates and potentialities from the music’s virtual, manifested in the form of what will be here understood as image-music. The videos that compose the work's corpus are organized in four categories that are defined according to videoclip's language proximity: audiovisual mash up, audiovisual sampling, shreds spoofs, and auto-tuning. This procedure allows us to perceive how, progressively, in web videos, an empowerment of music-image is occurring. These practices were already contained, potentially, in previous audiovisuals, like cinema, television, video art and video clips – and also on electronic music practices –, but only in the web they managed to be fully manifested. Different theories will be presented and utilized as theoretical references, like those of French philosopher Henri Bergson, which will be used to comprehend music’s virtuality; works from Gilles Deleuze, will be utilized to aid our understanding of the signification processes that music’s over-codification performs on audiovisual, and how its structure is altered by it through this process; from Nicklas Luhmann's theories will provide a different point of view, on web music videos; and Vilém Flusser’s works will be employed to understand the nature of the technical image. We conclude that the web videos analyzed effectively move away from the logic of television music video, first, because they do not dialogue with the recording industry’s logic; second, because the songs created result from editing and not the other way around, as often occurs in video clips; third, it becomes clear that music is able to print something out of itself on the studied videos, there is an ongoing tendency for the dilution of the distinction between figurative art and music; throughout these videos, the production of imaginative music becomes possible, created from the recycling of audiovisual material available on the web.

Notre travail vise à étudier cet objet substantiel de l'univers du Web : le site web. Notre approche consiste en une analyse des contenus des sites web du point de vue de leur forme matérielle et des médiations complexes qui émergent entre les usagers, le support et les diffuseurs des contenus. Le contenu de la thèse s'articule autour des axes suivants : une interrogation sur la nature de l'objet "site-web" dans sa relation avec les partenaires de la communication ; une observation et analyse des transformations dans les conditions de la production du sens induites par le web ; une observation de l'expression et la transformation des positions institutionnelles et des médiations par rapport à la production web. Nous examinons ici les mécanismes de métaphore qui émergent entre les stratégies des concepteurs, les pratiques des usagers et les propriétés du support
Our work aims at studying websites as the substantial objects of the Web universe. Our approach yields from an analysis of websites contents, from the point of view of their material form and of the complex mediations that emerge among users, the medium and content publishers. The thesis is articulated along the following axes : questioning the nature of the « website object » in its relation to the communication partners ; observation and analysis of the transformations induced by the Web to the conditions of sense production ; observation of the way the transformations of institutional positions and of mediations with respect to the Web productions are expressed. In particular, we investigate the metaphor-based mechanisms that arise involving website designers' strategies, users' practices and medium proprieties

Cette recherche vise à comprendre comment le bouche-à-oreille électronique visuel émis par un youtubeur influence le sentiment et l’intention d’achat des consommateurs. Nous étudions l’impact des caractéristiques du bouche-à-oreille et l’effet de la contagion sociale.Les résultats principaux sont :1. Le statut professionnel du youtubeur, l’existence de liens commerciaux entre marques et youtubeurs et la valence de la revue ont un impact sur le sentiment exprimé et par conséquent l’intention d’achat.2. Il existe une contagion sociale, à la fois émotionnelle et comportementale au sein de l’audience d’un bouche-à-oreille électronique et visuel qui impacte son efficacité.3. Le nombre d’abonnés d’un individu (caractéristique individuelle du commentateur) impacte sa sensibilité à la contagion sociale
This research aims to understand how the visual electronic word of mouth emitted by a youtubeur influences the affect and the purchase intention of the consumers. We study the impact of word of mouth characteristics and the effect of social contagion.The main results are:1. The professional status of the youtubeur, the existence of commercial links between brands and youtubers and the valence of the magazine have an impact on the feeling expressed and therefore the intention to purchase.2. There is a social contagion, both emotional and behavioral within the audience of electronic and visual word of mouth that impacts its effectiveness.3. The number of subscribers of an individual (individual characteristic of the commentator) impacts his sensitivity to social contagion

Le marketing d’influence est de plus en plus utilisé par les entreprises lors d’une stratégie digitale. Cet intérêt s’explique par l’efficacité des influenceurs et de leur recommandation sur le comportement des consommateurs. Cette recherche s’intéresse aux attitudes des abonnés sur YouTube à l’égard des partenariats entre marque et Youtubeur. Deux études exploratoires ont été menées. Des entretiens en face à face ont permis de mieux comprendre le fonctionnement de YouTube, de ressortir les motivations des internautes à s’abonner à une chaine et d’identifier l’importance de la personnalité et de l’attractivité du youtubeur. Une netnographie a été réalisée en analysant trois vidéos de chaîne de mode et de beauté qui totalisent ensemble 2075 commentaires. Les analyses ont permis de ressortir trois attitudes : cognitives, affectives et conatives et ce à l’égard : du partenariat, de la Youtubeuse et de la marque. Enfin, une étude quantitative a été conduite pour tester l’influence de la crédibilité du youtubeur sur les attitudes des abonnés envers la marque, la vidéo et leur intention d’achat
Influence marketing is increasingly being used by companies in their digital strategies. This interest is explained by the effectiveness of influencers and their recommendations on consumer behaviour. This research focuses on Youtube subscribers' attitudes towards Youtubeur and brand partnerships. Two exploratory studies were conducted. Face-to-face interviews helped to better understand how Youtube works, to highlight the motivations of Internet users to subscribe to a channel and to identify the importance of the personality and attractiveness of the Youtubeur. A netnography was performed by analyzing three fashion and beauty channel videos that together total 2075 comments. The analyses revealed three types of attitudes : cognitive, affective and conative, towards the partnership, the Youtubeuse and the brand. Finally, a quantitative study was conducted to test the influence of the youtubeur’s credibility on subscribers' attitudes towards the brand, the video and their purchasing intention

Si le site internet de l’UNESCO est aujourd’hui considéré par l’organisation comme le média le plus adapté à sa communication, l’enjeu de cette thèse est bien la dénaturalisation de cette apparente évidence. Il s’agit de mettre au jour une prétention communicationnelle reposant à la fois sur la nature de l’organisation, le dispositif investi et la compétence particulière de l’UNESCO : la médiation des savoirs. Cette thèse s’intéresse ainsi aux enjeux symboliques de la représentation médiatique de l’UNESCO portée par son site internet. Pour ce faire, elle s’appuie sur une méthodologie techno-sémio-discursive, reposant sur l’analyse des signes, mobilisant celle des discours produits par l’organisation sur son site et considérant les spécificités techniques du dispositif investi. Cette thèse montre comment le site internet incarne une conception particulière de la médiation des savoirs résultant de la rencontre entre un média et une organisation. Elle amène aussi à considérer les liens étroits entre savoir et politique dans la définition de la posture de l’organisation, telle qu’elle est représentée et incarnée sur son site internet
If the UNESCO’s website is now considered by the organization as the most suitable media for its communication, this thesis focuses on the denaturalization of this apparent evidence. It brings to light a communicational claim based both on the nature of the organization, invested devices and the particular competency of the UNESCO: the mediation of knowledge. This thesis also focuses on the symbolic issues of the media representation of the UNESCO’s promoted by its website. This thesis relies on a techno-semiotic-discursive methodology, based on the analysis of the signs, mobilizing the discourses produced by the organization on its website and considering the technical specifications of the invested devices. This thesis shows how the website embodies a particular concept of the mediation of knowledge resulting from the encounter between a media and an organization. It also leads us to consider the close relationship between knowledge and policy in the definition of the posture of the organization, represented and embodied by its website

Alors qu’un ensemble de discours sociaux et académiques s’intéressent aux conséquences de la numérisation sur la valeur de la musique, YouTube, le site de publication de vidéos fondé par trois anciens employés de PayPal et aujourd’hui propriété de Google, est progressivement devenu le premier dispositif d’écoute en ligne en France. A partir de l’analyse d’archives du Web et d’une veille intermédiatique, cette thèse s’intéresse à ce qu’une entreprise venue de l’économie des techniques « fait » à la culture musicale, en tenant compte de l’évolution régulière de ses formes et de ses promesses. Une première partie s’intéresse aux effets de force et de flou dans la médiatisation de YouTube et de son rapport avec la musique. Une seconde partie analyse l’incidence de la musique dans sa construction comme innovation. Une troisième partie identifie la façon dont l’entreprise a investi la musique comme une ressource stratégique privilégiée, tout en orientant à son tour l’appropriation et à la publication de musique autour de références à la popularité et à la créativité. Une quatrième partie analyse la construction d’un marché de la musique appuyé sur un contrôle technique et juridique des œuvres et sur le financement par la publicité, pour en montrer les tensions internes. La thèse conclut à l’intrication des discours sur la transformation de la culture avec les logiques de changement permanent des acteurs du capitalisme médiatique. En regard, elle défend une micropolitique des formats techniques, médiatiques et esthétiques
While music digitization has become a major theme of public discourse and academic research, YouTube, a video publication website founded by three ex-employees of PayPal and now the property of Google, is today recognized as the first media used for music listening in France. Through an analysis of digital archives of the Web and the compilation of media sources, this thesis analyzes what a company coming from technology « does » to musical culture, taking into account the regular change of its forms and its promises. A first chapter deals with the effects of power and blurriness in the mediatization of YouTube and its relationship to music. A second chapter analyzes the way music shaped YouTube, proposing a genealogy of relationships between music and media apparatus, linking the invention of recorded music, the standardization of online listening software and the « musicalization » of YouTube. A third chapter discusses music as an opportunity. We identify how the company invested in music as a key strategic ressource, while shaping the practice of music gathering and publication around values of popularity and creativity. A fourth chapter concerns the construction of a market for music built upon the technological and juridical control of the works versions and the financing by advertising, interrogating the limits of this model. We conclude by showing the intricacy of discourse about the transformation of musical culture with the logics of permanent change from the actors of media capitalism. From this point, we defend the necessity of studying the micropolitics of formats

Le streaming vidéo est l'élément dominant au trafic Internet actuel. En conséquence, l'estimation de la qualité d'expérience (QoE) pour le streaming vidéo est de plus en plus importante pour les opérateurs réseau. La qualité d'expérience (QoE) de la diffusion vidéo sur Internet est directement liée aux conditions du réseau (par exemple, bande passante, délai) également appelée qualité de service (QoS). Cette relation entre QoS et QoE motive l'utilisation de l'apprentissage automatique supervisé pour établir des modèles reliant QoS à QoE. La QoS du réseau peut être mesurée activement en dehors du plan de données de l'application (outband) ou de manière passive à partir du trafic vidéo (inband). Ces deux types de qualité de service correspondent à deux scénarios d'utilisation différents : la prévision et la surveillance. Dans cette thèse, nous examinons les défis associés à la modélisation de la QoE à partir de la QoS réseau, à savoir 1) le coût élevé de la phase expérimentale, et 2) la considération de la grande diversité du contenu vidéo et du chiffrement déployé. Premièrement, la modélisation de la QoE par expérimentation contrôlée constitue un défi, les dimensions d'espace d'expérimentations ainsi que le temps non négligeable de chaque expérience rend cette modélisation plus complexe. L'approche classique consiste à expérimenter avec des échantillons (de qualité de service), échantillonnés de manière uniforme dans tout l'espace expérimental. Cependant, un échantillonnage uniforme peut entraîner une similarité significative au niveau des labels, ce qui entraine une augmentation du coût sans gain en précision du modèle. Pour résoudre ce problème, nous recommandons d'utiliser apprentissage actif pour réduire le nombre d'expériences sans affecter la précision. Nous examinons le cas de la modélisation QoE sur YouTube et montrons que l'échantillonnage actif fournit un gain significatif par rapport à l'échantillonnage uniforme en termes d'augmentation de la précision de la modélisation en moins d'expériences. Nous évaluons ensuite notre approche avec des ensembles de données synthétiques et montrons que le gain dépend de la complexité de l'espace expérimental. Dans l'ensemble, nous présentons une approche générale d'échantillonnage qui peut être utilisée dans n'importe quel scénario de modélisation QoS-QoE, à condition que la fonctionnalité de QoS en entrée soit entièrement contrôlable. Deuxièmement, prévoir la qualité de l'expérience de la vidéo avec précision s'avère difficile, d'une part les vidéos des fournisseurs de contenu actuels varient énormément, des vidéos sportives rapides aux vidéos éducatives statiques. De plus, le trafic vidéo actuel est crypté, ce qui signifie que les opérateurs de réseau ont une visibilité réduite sur le trafic vidéo, ce qui rend la surveillance de la QoE plus complexe. Face à ces défis, nous développons des modèles afin de prévoir ainsi que surveiller avec précision la qualité de l'expérience vidéo. Pour le scénario de prévision QoE, nous construisons un indicateur QoE appelé YouScore qui prédit le pourcentage de vidéos pouvant être lues sans interruption en fonction de l'état du réseau sous-jacent. En ce qui concerne la surveillance QoE, nous estimons la QoE à l'aide des fonctionnalités de qualité de service inband obtenues à partir du trafic vidéo crypté. En conclusion, pour les deux scénarios (prévision et surveillance), nous soulignons l'importance d'utiliser des fonctionnalités qui caractérisent le contenu vidéo afin de pouvoir améliorer la précision des modèles
Video streaming is the dominant contributor of today's Internet traffic. Consequently, estimating Quality of Experience (QoE) for video streaming is of paramount importance for network operators. The QoE of video streaming is directly dependent on the network conditions (e.g., bandwidth, delay, packet loss rate) referred to as the network Quality of Service (QoS). This inherent relationship between the QoS and the QoE motivates the use of supervised Machine Learning (ML) to build models that map the network QoS to the video QoE. In most ML works on QoE modeling, the training data is usually gathered in the wild by crowdsourcing or generated inside the service provider networks. However, such data is not easily accessible to the general research community. Consequently, the training data if not available beforehand, needs to be built up by controlled experimentation. Here, the target application is run under emulated network environments to build models that predict video QoE from network QoS. The network QoS can be actively measured outside the data plane of the application (outband), or measured passively from the video traffic (inband). These two distinct types of QoS correspond to the use cases of QoE forecasting (from end user devices) and QoE monitoring (from within the networks). In this thesis, we consider the challenges associated with network QoS-QoE modeling, which are 1) the large training cost of QoE modeling by controlled experimentation, and 2) the accurate prediction of QoE considering the large diversity of video contents and the encryption deployed by today's content providers. Firstly, QoE modeling by controlled experimentation is challenging due to the high training cost involved as each experiment usually consumes some non-negligible time to complete and the experimental space to cover is large (power the number of QoS features). The conventional approach is to experiment with QoS samples uniformly sampled in the entire experimental space. However, uniform sampling can result in significant similarity in the output labels, which increases the training cost while not providing much gain in the model accuracy. To tackle this problem, we advocate the use of active learning to reduce the number of experiments while not impacting accuracy. We consider the case of YouTube QoE modeling and show that active sampling provides a significant gain over uniform sampling in terms of achieving higher modeling accuracy with fewer experiments. We further evaluate our approach with synthetic datasets and show that the gain is dependent on the complexity of the experimental space. Overall, we present a sampling approach that is general and can be used in any QoSQoE modeling scenario provided that the input QoS features are fully controllable. Secondly, accurate prediction of QoE of video streaming can be challenging as videos offered by today's content providers vary significantly from fast motion sports videos to static lectures. On top of that, today's video traffic is encrypted, which means that network operators have little visibility into the video traffic making QoE monitoring difficult. Considering these challenges, we devise models that aim at accurate forecasting and monitoring of video QoE. For the scenario of QoE forecasting, we build a QoE indicator called YouScore that quantifies the percentage of videos in the catalog of a content provider that may play out smoothly (without interruptions) for a given outband network QoS. For the QoE monitoring scenario, we estimate the QoE using the inband QoS features obtained from the encrypted video traffic. Overall, for both scenarios (forecasting and monitoring), we highlight the importance of using features that characterize the video content to improve the accuracy of QoE modeling

On the Social Web, on the leading social video sharing site YouTube, some of the most popular videos (with millions of views each) show “performative eating,” described here as “consuming food as a form of entertainment.” The performances occur in various locales and in various ways: Mukbang eating shows and their derivatives show individuals, pairs, groups, and families in feats of food and drink consumption. ASMR (autonomous [auto] sensory meridian response) eating videos show individuals and small groups eating copious amounts of food with an emphasis on listening pleasures. In restaurants, individuals and small groups take on (un)timed eating challenges. Outdoors, persons harvest food and prepare it, or they hunt wildlife and butcher the kill and prepare the animal proteins. Travel eating occurs in various locations around the world, with a focus on local specialties. The common denominator in these are spectacle. Viewed another way, performative eating videos are a form of edutainment, with positive and negative lessons.

This paper examines the services people seek out on Twitter and the integration of Twitter into businesses. Twitter has experienced tremendous growth in users over the past few years, from users sharing to the world what they had for lunch to their opinions on world events. As a social media website, Twitter has become the third most popular behind only Facebook and YouTube. Its user base statistics ensure a wide audience for business to engage with. However, many find this a daunting prospect as there are no set guidelines as to how business might use the service. The ability to post quick short messages for the whole of the social network to see has encouraged people to use this microblogging platform to comment and share attitudes on company brands and products. The authors present how the business world is using the social network site as a new communication channel to reach customers and examine other possible uses for Twitter in a business context. This paper also discusses how Twitter plans to move forward and evolve with its service, ensuring that personal, business and third party developers’ best interests are catered to.

In a cross-cultural educational context of TEFL in Japan, the author sought to enhance the integrative motivation of students toward the target language community through a supplementary online dimension. The social networking site (SNS), Mixi, was selected because it is familiar to most college students in Japan. The Mixi Japanese language interface is illustrated in this chapter, describing functions possibly applicable to education. A YouTube video that introduces Mixi in English, made in authentic collaboration with students, is also referenced as a representative CALL 2.0 classroom activity. More importantly, joining Mixi presented an opportunity to go behind the lines into student territory. Teachers and students, whether foreign or Japanese, customarily maintain their social distance in terms of separate affiliations. Social networking with Japanese students further involves issues of online technological proficiency, biliteracy, and the necessity of an invitation. The author negotiated with three 2007-08 classes on networking through Mixi, with varying outcomes extending beyond the classroom and the school year. Metaphors of lines and perspectives including “technoscapes” (Appadurai, 1990) are proposed to interpret the results, but Japanese socioculture may be most salient to account for the particulars. Student attitudes are probed as to a possible ambivalence in valuing their free expression in Mixi versus the integrative motivation of social involvement with a teacher. One prediction was that results would differ as to whether or not a teacher was welcome in a student community depending on how students were approached for an invitation. Social networking is proposed as a Web 2.0 educational approach that is authentic, collaborative, and immersive in cutting through power hierarchies and positively blurring the distinction between the classroom and the real life of students and teachers, which nowadays includes a virtual dimension.

Nowadays, there is a great increase in music distribution over the Internet. This phenomenon is common in many countries and therefore involves many issues such as: ways of distribution, music format, organizing music and copyright issues. The revolution in music prototypes (especially the MP3 music format) urged many people to turn to the Internet for free and easy-to-find music. Music files can be downloaded easily from the Internet anywhere in the world and be burned into a CD or DVD or transferred to a friend via usb-sticks. Music is also widely available as streams in Internet trough various services such as MySpace, YouTube and Spotify. Internet also is full of questions what is legal and what is not, because exchange of files is hard to supervise and the laws between countries also differ. All the legal services are constructed around a digital music library, containing millions of songs. Vast music libraries are easily accessed through Internet from users and serve as the ultimate way to find and listen to the music they desire. In this chapter, some representative popular music libraries are presented. Moreover, the interaction between the user and a music repository or a music store (a web site that sells music over the Internet) is another subject presented in this chapter. In section 1, terms and definitions related to digital music libraries are explained. Section 2 presents some popular music libraries, while section 3 presents some popular Internet music stores. Finally, a special version of a digital music library in streaming format (Internet Radio) is presented in section 4.

There are many aspects that influence the importance of a university. Among these, web visibility is taking advantage of available technology, focusing on the benefits of internet and social media. This paper provides an analysis of the Romanian public and private universities websites, using alexa.com, a tool for website traffic analysis. Moreover, the official social media accounts of universities (Facebook, Twitter, Google+, Flickr, YouTube and Instagram) were analysed, collecting several data such as: the number of likes and followers, the number of subscribers and the number of posts. The analysis was performed using ANOVA and Nonparametric Test for the presence via websites and Spearman and Pearson correlation to assess the correlation between social media and website traffic. In general, public universities from Romania have more visibility and a higher number of links to their websites compared to private ones. Based on the fact that Facebook and site content are often related, it should be noted that activity on Facebook may improve website rankings for Romanian universities.

Empowered by, and tethered to, ubiquitous technologies, the current generation of youth yearns for opportunities to engage in self-expression and information sharing online with personal disclosure no longer governed by concepts of propriety and privacy. This raises issues about the unsafe activities of teens and young adults. The following paper presents the findings of a study examining the social networking activities of undergraduate students and also highlights a program to increase awareness of the dangers of, and safe practices using, social media. According to the survey results, young adults practice risky social networking site (SNS) behaviors with most having experienced at least one negative consequence. Further, females were more likely than males to engage in oversharing as well as to have experienced negative consequences. Finally, results of a post-treatment survey found that a targeted program that includes flyers, posters, YouTube videos, handouts, and in-class information sessions conducted at a Mid-Atlantic HBCU increased student awareness of the dangers of social media as well as positively influenced students to practice more prudent online behaviors. A revised version of this paper was published in Interdisciplinary Journal of e-Skills and Life Long Learning Volume 11, 2015 as "Communicating and Sharing in the Semantic Web: An Examination of Social Media Risks, Consequences, and Attitudinal Awareness"

Introdução: No contexto da promoção da transparência ativa e disseminação das informações de interesse público e para pesquisa, o Arquivo Central/SIARQ implantou projetos e ações de comunicação para diversos públicos, facilitando o acesso ao seu acervo documental. Objetivo: Difundir as múltiplas facetas da memória institucional a agentes de gestão documental, comunidade universitária e toda a sociedade. Metodologia: As ações, periódicas e em concordância com normativas arquivísticas, resultam de pesquisa, curadoria, digitalização, conteúdo multimídia e desenvolvimento web, realizados por equipe multidisciplinar. Estratégias e planejamento são definidos conjuntamente. Entre os temas abordados, estão a instalação de unidades e órgãos, trajetória científica e de ensino de pesquisadores, estudos desenvolvidos em diversas áreas do conhecimento e seus impactos acadêmicos e sociais, cenas de convívio e cotidiano, além de iniciativas de extensão universitária. Resultados: Atualização do site, fundamentada na experiência do usuário. Vídeos temáticos. Projetos de história oral, notícias e posts comemorativos. Canais de divulgação Facebook, Instagram e Youtube são os canais de divulgação. Calendário de postagens, com periodicidade das publicações. Redes sociais somam 400 postagens em outubro de 2023. Entre as exposições físicas e virtuais, estão “Mostra Unicamp: recortes de uma trajetória”; “Publicações Estudantis da Unicamp”, “Simtec 25 anos”, “Direitos Humanos na Unicamp” e“40 anos do acervo de Sérgio Buarque de Holanda”, esta realizada com a Biblioteca de Obras Raras “Fausto Castilho” (BORA). Conclusão: Fortalecimento do vínculo da instituição arquivística com diversos públicos e maior visibilidade às fontes de pesquisa. Práticas de comunicação com maior dinamismo quanto às tecnologias, linguagem e temáticas.

Aim/Purpose: This paper provides the results of the preliminary analysis of the findings of an ongoing study that seeks to examine the social media use, cultural and political awareness, civic engagement, issue prioritization, and social activism of Gen Z students enrolled at four different institutional types located in the Mid-Atlantic region of the United States. The aim of this study is to look at the group as a whole as well as compare findings across populations. The institutional types under consideration include a mid-sized majority serving or otherwise referred to as a traditionally white institution (TWI) located in a small coastal city on the Atlantic Ocean, a small Historically Black University (HBCU) located in a rural area, a large community college located in a county that is a mixture of rural and suburban and which sits on the border of Maryland and Pennsylvania, and graduating high school students enrolled in career and technical education (CTE) programs in a large urban area. This exploration is purposed to examine the behaviors and expectations of Gen Z students within a representative American region during a time of tremendous turmoil and civil unrest in the United States. Background: Over 74 million strong, Gen Z makes up almost one-quarter of the U.S. population. They already outnumber any current living generation and are the first true digital natives. Born after 1996 and through 2012, they are known for their short attention spans and heightened ability to multi-task. Raised in the age of the smart phone, they have been tethered to digital devices from a young age with most having the preponderance of their childhood milestones commemorated online. Often called Zoomers, they are more racially and ethnically diverse than any previous generation and are on track to be the most well-educated generation in history. Gen Zers in the United States have been found in the research to be progressive and pro-government and viewing increasing racial and ethnic diversity as positive change. Finally, they are less likely to hold xenophobic beliefs such as the notion of American exceptionalism and superiority that have been popular with by prior generations. The United States has been in a period of social and civil unrest in recent years with concerns over systematic racism, rampant inequalities, political polarization, xenophobia, police violence, sexual assault and harassment, and the growing epidemic of gun violence. Anxieties stirred by the COVID-19 pandemic further compounded these issues resulting in a powder keg explosion occurring throughout the summer of 2020 and leading well into 2021. As a result, the United States has deteriorated significantly in the Civil Unrest Index falling from 91st to 34th. The vitriol, polarization, protests, murders, and shootings have all occurred during Gen Z’s formative years, and the limited research available indicates that it has shaped their values and political views. Methodology: The Mid-Atlantic region is a portion of the United States that exists as the overlap between the northeastern and southeastern portions of the country. It includes the nation’s capital, as well as large urban centers, small cities, suburbs, and rural enclaves. It is one of the most socially, economically, racially, and culturally diverse parts of the United States and is often referred to as the “typically American region.” An electronic survey was administered to students from 2019 through 2021 attending a high school dual enrollment program, a minority serving institution, a majority serving institution, and a community college all located within the larger mid-Atlantic region. The survey included a combination of multiple response, Likert scaled, dichotomous, open ended, and ordinal questions. It was developed in the Survey Monkey system and reviewed by several content and methodological experts in order to examine bias, vagueness, or potential semantic problems. Finally, the survey was pilot tested prior to implementation in order to explore the efficacy of the research methodology. It was then modified accordingly prior to widespread distribution to potential participants. The surveys were administered to students enrolled in classes taught by the authors all of whom are educators. Participation was voluntary, optional, and anonymous. Over 800 individuals completed the survey with just over 700 usable results, after partial completes and the responses of individuals outside of the 18-24 age range were removed. Findings: Participants in this study overwhelmingly were users of social media. In descending order, YouTube, Instagram, Snapchat, Twitter, Facebook, Pinterest, WhatsApp, LinkedIn and Tik Tok were the most popular social media services reported as being used. When volume of use was considered, Instagram, Snapchat, YouTube and Twitter were the most cited with most participants reporting using Instagram and Snapchat multiple times a day. When asked to select which social media service they would use if forced to choose just one, the number one choice was YouTube followed by Instagram and Snapchat. Additionally, more than half of participants responded that they have uploaded a video to a video sharing site such as YouTube or Tik Tok. When asked about their familiarity with different technologies, participants overwhelmingly responded that they are “very familiar” with smart phones, searching the Web, social media, and email. About half the respondents said that they were “very familiar” with common computer applications such as the Microsoft Office Suite or Google Suite with another third saying that they were “somewhat familiar.” When asked about Learning Management Systems (LMS) like Blackboard, Course Compass, Canvas, Edmodo, Moodle, Course Sites, Google Classroom, Mindtap, Schoology, Absorb, D2L, itslearning, Otus, PowerSchool, or WizIQ, only 43% said they were “very familiar” with 31% responding that they were “somewhat familiar.” Finally, about half the students were either “very” or “somewhat” familiar with operating systems such as Windows. A few preferences with respect to technology in the teaching and learning process were explored in the survey. Most students (85%) responded that they want course announcements and reminders sent to their phones, 76% expect their courses to incorporate the use of technology, 71% want their courses to have course websites, and 71% said that they would rather watch a video than read a book chapter. When asked to consider the future, over 81% or respondents reported that technology will play a major role in their future career. Most participants considered themselves “informed” or “well informed” about current events although few considered themselves “very informed” or “well informed” about politics. When asked how they get their news, the most common forum reported for getting news and information about current events and politics was social media with 81% of respondents reporting. Gen Z is known to be an engaged generation and the participants in this study were not an exception. As such, it came as no surprise to discover that, in the past year more than 78% of respondents had educated friends or family about an important social or political issue, about half (48%) had donated to a cause of importance to them, more than a quarter (26%) had participated in a march or rally, and a quarter (26%) had actively boycotted a product or company. Further, about 37% consider themselves to be a social activist with another 41% responding that aren’t sure if they would consider themselves an activist and only 22% saying that they would not consider themselves an activist. When asked what issues were important to them, the most frequently cited were Black Lives Matter (75%), human trafficking (68%), sexual assault/harassment/Me Too (66.49%), gun violence (65.82%), women’s rights (65.15%), climate change (55.4%), immigration reform/deferred action for childhood arrivals (DACA) (48.8%), and LGBTQ+ rights (47.39%). When the schools were compared, there were only minor differences in social media use with the high school students indicating slightly more use of Tik Tok than the other participants. All groups were virtually equal when it came to how informed they perceived themselves about current events and politics. Consensus among groups existed with respect to how they get their news, and the community college and high school students were slightly more likely to have participated in a march, protest, or rally in the last 12 months than the university students. The community college and high school students were also slightly more likely to consider themselves social activists than the participants from either of the universities. When the importance of the issues was considered, significant differences based on institutional type were noted. Black Lives Matter (BLM) was identified as important by the largest portion of students attending the HBCU followed by the community college students and high school students. Less than half of the students attending the TWI considered BLM an important issue. Human trafficking was cited as important by a higher percentage of students attending the HBCU and urban high school than at the suburban and rural community college or the TWI. Sexual assault was considered important by the majority of students at all the schools with the percentage a bit smaller from the majority serving institution. About two thirds of the students at the high school, community college, and HBCU considered gun violence important versus about half the students at the majority serving institution. Women’s rights were reported as being important by more of the high school and HBCU participants than the community college or TWI. Climate change was considered important by about half the students at all schools with a slightly smaller portion reporting out the HBCU. Immigration reform/DACA was reported as important by half the high school, community college, and HBCU participants with only a third of the students from the majority serving institution citing it as an important issue. With respect to LGBTQ rights approximately half of the high school and community college participants cited it as important, 44.53% of the HBCU students, and only about a quarter of the students attending the majority serving institution. Contribution and Conclusion: This paper provides a timely investigation into the mindset of generation Z students living in the United States during a period of heightened civic unrest. This insight is useful to educators who should be informed about the generation of students that is currently populating higher education. The findings of this study are consistent with public opinion polls by Pew Research Center. According to the findings, the Gen Z students participating in this study are heavy users of multiple social media, expect technology to be integrated into teaching and learning, anticipate a future career where technology will play an important role, informed about current and political events, use social media as their main source for getting news and information, and fairly engaged in social activism. When institutional type was compared the students from the university with the more affluent and less diverse population were less likely to find social justice issues important than the other groups. Recommendations for Practitioners: During disruptive and contentious times, it is negligent to think that the abounding issues plaguing society are not important to our students. Gauging the issues of importance and levels of civic engagement provides us crucial information towards understanding the attitudes of students. Further, knowing how our students gain information, their social media usage, as well as how informed they are about current events and political issues can be used to more effectively communicate and educate. Recommendations for Researchers: As social media continues to proliferate daily life and become a vital means of news and information gathering, additional studies such as the one presented here are needed. Additionally, in other countries facing similarly turbulent times, measuring student interest, awareness, and engagement is highly informative. Impact on Society: During a highly contentious period replete with a large volume of civil unrest and compounded by a global pandemic, understanding the behaviors and attitudes of students can help us as higher education faculty be more attuned when it comes to the design and delivery of curriculum. Future Research This presentation presents preliminary findings. Data is still being collected and much more extensive statistical analyses will be performed.