Academic literature on the topic 'Screen and digital media not elsewhere classified'

Technology in the world is growing, technological developments have an impact on the world of education. One of the uses of technology is with cellphones, where cellphones are included in technology that is very popular with everyone. Therefore, the microscope media is designed with a smartphone camera. It is expected that microscope learning media based on smartphone cameras is one of the alternative learning media in schools that do not have a light microscope. The smartphone camera-based digital microscope is classified as a laboratory tool (tool of practice) in learning physics, biology. This smartphone camera-based microscope produces a fairly good and clear image, this camera-based digital microscope is easily poisoned with material that is easily found in everyday life. The workings of a digital microscope based on a smartphone camera are almost the same as the way a light microscope works, only here use the help of a smartphone so that the image obtained is more clearly visible on the smartphone screen.

With the rapid development of the information technology and digital image copy devices, the information carrier shows off diversified trends. However paper media still play an important role in many areas serving as information carrier, and correspondingly the information security of paper documents faces great challenges. So how to solve the information security problems of paper media has become the hottest research topic. This paper proposes an information hiding method used in printed documents image based on the screen dots modulating shade composed of a large number of randomly arranged screen dots. These dots are classified into coding dots, anchor dots and perturbing dots respectively. Experimental results show that screen dots modulating shade using our method has larger information capacity and also has strong robustness against the attacks of print-scan processes. Moreover, this technology also can be widely used in many other areas, such as anti-counterfeit printing, anti-copy, document content tamper-proofing and document image retrieval etc.

This article identifies the peculiarities of audio consumption (radio, music and podcast) by Colombian adolescents and youth on their screen devices, especially the smartphone. The irruption in the digital ecosystem of radio and sound platforms redefines the industry’s relationship with new audiences. The body of research, classified into three age groups (puberty –10 to 14 years–, middle –15 to 19 years–, and full –20 to 24 years–), is made up of students in basic secondary education and university students who were consulted through a quantitative methodology (700 surveys) and a qualitative one (8 focus groups with 48 participants), which made it possible to recognize the routines and the sound agenda of the subjects of study. The results of the research outline the profile of the Colombian audio consumer, whose habits of listening to the radio alternate times of attention to the broadcast on air with the consumption of apps, websites and music distribution platforms, which evidences their digital skills and the creation of a menu that combines music, sports and entertainment content. It is a media diet built on the mediation of technological devices and the influence of family and virtual communities. The sound component is the backbone of the relationship between industry and listener, but visual and iconographic elements are added to reinforce the bonds with brand, media and producer, regardless of where audio meets audience.

Introdução: A obesidade infantil é considerada uma situação desafiadora de saúde pública. Inúmeros fatores ambientais estão relacionados ao desenvolvimento do excesso de peso na infância (EP), dentre os quais o tempo de tela. Objetivos: Analisar a possível relação entre o tempo de tela (mídias digitais), alterações do sono e o efeito sobre o peso das crianças. Métodos: foram avaliadas 98 crianças (54 meninos e 44 meninas) de escolas públicas e privadas com idades entre 3 e 9 anos. De acordo com o índice de massa corporal (IMC), as crianças foram classificadas eutróficas (EUT), e as crianças que apresentaram sobrepeso (SP), obesidade (OB) ou obesidade grave (OBG) formaram um único grupo denominado Excesso de Peso (EP). Foi aplicado um questionário sobre hábitos de sono e uso de tela das crianças. Resultados: Em toda a amostra, EUT representaram 65,3% e 32,6% EP (SP: 14,3%; OB: 15,3%; OBG: 3,1%). A maioria das crianças (55,1%) acessou a mídia antes do sono; no grupo com EP, esse uso foi relatado por 46,9%. O atraso do sono foi observado em 26,1% das crianças com EP. O uso de mídia foi superior a 2 h/dia em 42,3% (40,4% no EUT e 46,1% no EP). O acesso à mídia era livre para 59,1% das crianças. Não houve diferença significativa em todas as análises. Conclusão: Foi observada alta frequência de crianças com excesso de peso. Além disso, observou-se alta frequência de uso inadequado de tela. Entretanto, não houve relação entre esses aspectos e a presença de excesso de peso. Abstract: Introduction: Childhood obesity is considered a challenging public health situation. Numerous environmental factors are related to the development of childhood weight excess (WE), among them excessive screen time. Objectives: To analyze the possible relationship between the time spent using digital media and sleep disorders and the effect on children's weight. Methods: 98 children (54 boys and 44 girls) from public and private schools, aged 3 to 9 years were evaluated. According to body mass index (BMI), children were classified as normal weight (EUT), and the weight excess (WE) group was formed by children with OW (overweight), OB (obesity) or SOB (severe obesity). A questionnaire was applied to analyze children's sleep and screen use. Results: In the entire sample, EUT were 65.3% and 32.6% WE (OW: 14.3%; OB: 15.3%; SOB: 3.1%). Most children (55.1%) accessed pre-sleep media; in the group with WE, this use was reported by 46.9%. Sleep delay was observed in 26.1% of children with WE. Media usage was more than 2 h/day in 42.3% (40.4% in EUT and 46.1% in WE). Media access was free for 59.1% of children. There were no significant differences in all analyses. Conclusion: High frequency of overweight children was observed. In addition, there was a high frequency of inappropriate use of screens and digital media. In spite of that, there was no relationship between these aspects and the presence of excess weight. Keywords: Children. Overweight. Obesity. Screen time. Sleep problems.

A connected society implies a new concept of cultural patrimony which starts to exist when the space is changing from physical to the one of data flow. Cyberspace and new technologies in cultural institutions provide up-to-date information to their public that has the potential of acting as a co-author by creating and sharing. Accessing cultural information of the museum's collection online through the screen or electronic device is a global trend and leads individuals to interact, exchange knowledge and absorb social change. Can one think that it is the “Digital Age” that is imposing itself on teaching during the pandemic? Can you imagine that everyone will migrate to digital on equal terms, including the population most vulnerable to poverty? Are digital educational resources within easy reach of the entire student community? Do all families have sufficient digital literacy and financial conditions to assist and enable their children to access and use digital tools? The answers seem obvious. It is not possible to disregard or pretend to be a minor problem, which was known before the covid-19: the digital inequality. It has already been revealed that the place where you live defines insertion in the digital world. The outskirts of Porto Alegre, like many others in Brazil, are full of families with school-age children who face serious obstacles to accessing the world wide web. Difficulties ranging from not being able to buy a computer to being unable to pay the cost of equipment or connection services. That is why they are classified, in the surveys, as “second-class users”, for making use of the internet based on more limited tools, such as cell phones, limited data access and access in public places. Digital inequalities connected with the pandemic. The article analyzes the connected Brazilian society and characterizes its involvement in the social media using the example of the museums of the city of Porto Alegre.

In 2017, New Zealand’s revised curriculum for early childhood education, Te Whāriki, expanded reference to the use of technology for teaching and learning to include digital media and related devices. This article reports findings from a doctoral study about tablet computer use among New Zealand’s four major early childhood service types: education and care centres, home-based services, kindergartens, and playcentres. Data were gathered in 2017, initially through a national survey, followed by a collective case study. Seven services participated in the collective case study which was designed to explain the results of the survey. Descriptive statistics and inferential statistics were used to analyse survey data while cross-case analysis was used to identify themes from the responses from each service in the collective case study. The results are presented according to two categories of respondents, services who classified themselves as non-users and services who were using tablet computers for teaching and learning at the time of the survey. The national survey results revealed that more than half of the services did not use tablets. Non-users’ reasons for not using tablet computers are discussed considering findings from both quantitative and qualitative phases of the study. Services who used tablets did so for a variety of reasons, including for documentation and assessment, to support children’s learning and teaching work. Qualitative data regarding policies or guidelines for staff about the use of and access to digital media, teachers’ and educators’ learning for how to use touchscreen tablets for teaching and learning, as well as services’ preferences on the facilitation of children’s tablet use are also presented. An important issue uncovered in this study was the use of personal tablets within ECE services. Among non-users, teachers and educators from more than half of home-based services and playcentres used their personally owned tablet computers, raising concerns about cybersafety and screen time. Many user services did not have formal guidelines or policies regarding tablet use. The data suggest that some services relied on the use of teachers’ and educators’ personally owned tablets. Implications arising from the findings of this study are explored, including the relevance of using digital technology for supporting distance learning and learning at home as a result of the global Covid-19 pandemic.

Why has software code become an object of intense interest in several different domains of cultural life? In art (.net art or software art), in Open source software (Linux, Perl, Apache, et cetera (Moody; Himanen)), in tactical media actions (hacking of WEF Melbourne and Nike websites), and more generally, in the significance attributed to coding as work at the pinnacle of contemporary production of information (Negri and Hardt 298), code itself has somehow recently become significant, at least for some subcultures. Why has that happened? At one level, we could say that this happened because informatic interaction (websites, email, chat, online gaming, ecommerce, etc) has become mainstream to media production, organisational practice and indeed, quotidian life in developed and developing countries. As information production moves into the mainstream, working against mainstream control of flows of information means going upstream. For artists, tactical media groups and hackers, code seems to provide a way to, so to speak, reach over the shoulder of mainstream media channels and contest their control of information flows.1 A basic question is: does it? What code does We all see content flowing through the networks. Yet the expressive traits of the flows themselves are harder to grapple with, partly because they are largely infrastructural. When media and cultural theory discuss information-network society, cyberculture or new media, questions of flow specificity are usually downplayed in favour of high-level engagement with information as content. Arguably, the heightened attention to code attests to an increasing awareness that power relations are embedded in the generation and control of flow rather than just the meanings or contents that might be transported by flow. In this context, loops provide a really elementary and concrete way to explore how code participates in information flows. Loops structure almost every code object at a basic level. The programmed loop, a very mundane construct, can be found in any new media artist's or software engineer's coding toolkit. All programming languages have them. In popular programming and scripting languages such as FORTRAN, C, Pascal, C++, Java, Visual Basic, Perl, Python, JavaScript, ActionScript, etc, an almost identical set of looping constructs are found.2 Working with loops as material and as instrument constitutes an indispensable part of producing code-based objects. On the one hand, the loop is the most basic technical element of code as written text. On the other hand, as process executed by CPUs, and in ways that are not immediately obvious even to programmers themselves, loops of various kinds underpin the generative potential of code.3 Crucially, code is concerned with operationality rather than meaning (Lash 203). Code does not directly create meaning. It circulates, transforms, and reproduces messages and patterns of widely varying semantic and contextual richness. By definition, flow is something continuous. In the case of information, what flows are not things but patterns which can be rendered perceptible in different ways—as image, text, sound—on screen, display, and speaker. While the patterns become perceptible in a range of different spatio-temporal modes, their circulation is serialised. They are, as we know, composed of sequences of modulations (bits). Loops control the flow of patterns. Lev Manovich writes: programming involves altering the linear flow of data through control structures, such as 'if/then' and 'repeat/while'; the loop is the most elementary of these control structures (Manovich 189). Drawing on these constructs, programming or coding work gain traction in flows. Interactive looping Loops also generate flows by multiplying events. The most obvious example of how code loops generate and control flows comes from the graphic user interfaces (GUIs) provided by typical operating systems such as Windows, MacOs or one of the Linux desktop environments. These operating systems configure the visual space of millions of desktop screen according to heavily branded designs. Basically they all divide the screen into different framing areas—panels, dividing lines, toolbars, frames, windows—and then populate those areas with controls and indicators—buttons, icons, checkboxes, dropdown lists, menus, popup menus. Framing areas hold content—text, tables, images, video. Controls, usually clustered around the edge of the frame, transform the content displayed in the framed areas in many different ways. Visual controls are themselves hooked up via code to physical input devices such as keyboard, mouse, joystick, buttons and trackpad. The highly habituated and embodied experience of interacting with contemporary GUIs consists of moving in and out, within and between different framing areas, using visual controls that respond either to pointing (with the mouse) or keyboard command to change what is displayed, how it is displayed or indeed to move that content elsewhere (onto disk, across a network). Beneath the highly organised visual space of the GUI, lie hundreds if not thousands of loops. The work of coding these interfaces involves making loops, splicing loops together, and nesting loops within loops. At base, the so-called event loop means that the GUI in principle stands ready at any time to accept input from the physical interface devices. Depending on what that input is, it may translate into direct changes within the framed areas (for instance, keystrokes appear in a text field as letters) or changes affecting the controls (for instance, Control-Enter might signal send the text as an email). What we usually understand by interactivity stems from the way that a loop constantly accepts signals from the physical inputs, queues the signals as events, and deals with them one by one as discrete changes in what appears on screen. Within the GUI's basic event loop, many other loops are constantly starting and finishing. They are nested and unnested. They often affect some or other of the dozens of processes running at any one time within the operating system. Sometimes a command coming from the keyboard or a signal arriving from some other peripheral interface (the network interface card, the printer, a scanner, etc) will trigger the execution of a new process, itself composed of manifold loops. Hence loops often transiently interact with each other during execution of code. At base, the GUI shows something important, something that extends well beyond the domain of the GUI per se: the event loop generates and controls informations flows at the same time. People type on keyboards or manipulate game controllers. A single keypress or mouse click itself hardly constitutes a flow. Yet the event loop can amplify it into a cascade of thousands of events because it sets other loops in process. What we call information flow springs from the multiplicatory effect of loops. A typology of looping Information flows don't come from nowhere. They always go somewhere. Perhaps we could generalise a little from the mundane example of the GUI and say that the generation and control of information flows through loops is itself regulated by bounding conditions. A bounding condition determines the number of times and the sequence of operations carried out by a loop. They often come from outside the machine (interfaces of many different kinds) and from within it (other processes running at the same time, dependent on the operating system architecture and the hardware platform). Their regulatory role suggests the possibility of classifying loops according to boundary conditions.4 The following table classifies loops based on bounding conditions: Type of loop Bounding condition Typical location Simple & indefinite No bounding conditions Event loops in GUIs, servers ... Simple & definite Bounding conditions determined by a finite set of elements Counting, sorting, input and output Nested & definite Multiple bounding conditions Transforming grid and table structures Recursive Depth of possible recursion (memory or time) Searching and sorting of tree or network structures Result controlled Loop ends when some goal has been reached Goal-seeking algorithms Interactive and indefinite Bounding conditions change during the course of the loop User interfaces or interaction Although it risks simplifying something that is quite intricate in any actually executing process, this classification does stress that the distinguishing feature of loops may well be their bounding conditions. In practical terms, within program code, a bounding condition takes the form of some test carried out before, during or after each iteration of a loop. The bounding conditions for some loops relate to data that the code expects to come from other places—across networks, from the user interface, or some other devices. For other loops, the bounding conditions continually emerge in the course of the loop itself—the result of a calculation, finding some result in the course of searching a collection or receiving some new input in a flow of data from an interface or network connection. Based on the classification, we could suggest that loops not only generate flows, but they generate those flows within particular spatio-temporal manifolds. Put less abstractly, if we accept that flows don't come from nowhere, we then need to say what kind of places they do come from. The classification shows that they do not come from homogeneous spaces. In fact they relate to different topologies, to the hugely diverse orderings of signs and gestures within mediatic cultures. To take a mundane example, why has the table become such an important element in the HTML coding of webpages? Clearly tables provide an easy way to organise a page. Tables as classifying and visual ordering devices are nothing new. Along with lists, they have been used for centuries. However, the table as onscreen spatial entity also maps very directly onto a nested loop: the inner loop generates the horizontal row contents; the outer loop places the output of the inner loop in vertical order. As web-designers quickly discovered during the 1990s, HTML tables are rendered quickly by browsers and can easily position different contents—images, headings, text, lines, spaces—in proximity. In shorts, nested loops can quickly turn a table into a serial flow or quickly render a table out of a serial flow. Implications We started with the observation that artists, writers, hackers and media activists are working with code in order to reposition themselves in relation to information flows. Through technical elements such as loops, they reappropriate certain facets of the production of information and communication. Working with these and other elements, they look for different points of entry into the flows, attempting to move upstream of the heavily capitalised sites of mainstream production such as the Windows GUI, eCommerce websites or blockbuster game titles. The proliferation of information objects in music, in visual culture, in database and net-centred forms of interactivity ranging from computer games to chat protocols, suggests that the coding work can trigger powerful shifts in the cultures of circulation. Analysis of loops also suggests that the notion of data or information flow, understood as the continuous gliding of bits through systems of communication, needs revision. Rather than code simply controlling flow, code generates flows as well. What might warrant further thought is just how different kinds of bounding conditions generate different spatio-temporal patterns and modes of inclusion within flows. The diversity of loops within information objects imply a variety of topologically complicated places. It would be possible to work through the classification describing how each kind of loop maps into different spatial and temporal orderings. In particular, we might want to focus on how more complicated loops—result controlled, recursive, or interactive and indefinite types—map out more topologically complicated spaces and times. For my purposes, the important point is that bounding conditions not only regulate loops, they bring different kinds of spatio-temporal manifold into the seriality of flow. They imprint spatial and temporal ordering. Here the operationality of code begins to display a generative dimension that goes well beyond merely transporting or communicating content. Notes 1. At a more theoretical level, for a decade or so fairly abstract notions of virtuality have dominated media and cultural studies approaches to new media. While that domination has been increasingly contested by more fine grained studies of how the Internet is enmeshed with different places (Miller and Slater), attention to code is justified on the grounds that it constitutes an increasingly important form of expression within information flows. 2. Detailed discussion of these looping constructs can be found in any programming textbook or introductory computer science course, so I will not be going through them in any detail. 3. For instance, the cycles of the clock chip are absolutely irreducible. Virtually all programs implicitly rely on a clock chip to regulate execution of their instructions. 4. A classification can act as a symptomatology, that is, as something that sets out the various signs of the existence of a particular condition (Deleuze 368), in this case, the operationality of code. References Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: U of Minnesota P, 1996. Deleuze, Gilles. The Brain is the Screen. An Interview with Gilles Deleuze. The Brain is the Screen. Deleuze and the Philosophy of Cinema. Ed Gregory Flaxman. Minneapolis: U of Minnesota P, 2000. 365-68. Hardt, Michael and Antonio Negri. Empire. Cambridge, MA: Harvard U P, 2000. Himanen, Pekka. The Hacker Ethic and the Spirit of the Information Age. London: Secker and Warburg, 2001. Lash, Scott. Critique of Information. London: Sage, 2002. Manovich, Lev. What is Digital Cinema? Ed. Peter Lunenfeld. The Digital Dialectic: New Essays on New Media. Cambridge, MA: MIT, 1999. 172-92. Miller, Daniel, and Don Slater. The Internet: An Ethnographic Approach. Oxford: Berg, 2000. Moody, Glyn. Rebel Code: Linux and the Open Source Revolution. Middlesworth: Penguin, 2001. Citation reference for this article MLA Style Mackenzie, Adrian. "Making Data Flow" M/C: A Journal of Media and Culture 5.4 (2002). [your date of access] < http://www.media-culture.org.au/mc/0208/data.php>. Chicago Style Mackenzie, Adrian, "Making Data Flow" M/C: A Journal of Media and Culture 5, no. 4 (2002), < http://www.media-culture.org.au/mc/0208/data.php> ([your date of access]). APA Style Mackenzie, Adrian. (2002) Making Data Flow. M/C: A Journal of Media and Culture 5(4). < http://www.media-culture.org.au/mc/0208/data.php> ([your date of access]).

Background: The aim of this study was to evaluate the role of early Emotional Dysregulation (ED) at preschool age as a risk factor or predictor of later media use behavior and Gaming Disorder (GD) in school age.Methods: 80 patients (63.7% male; mean age = 4.2, SD = 1.23) who had attended a special outpatient program for preschoolers at measuring point time t1 were contacted at measuring point time t2 (mean age = 9.2, SD = 2.03). At t1, the comprehensive clinical assessment comprised Child Behavior Checklist—Dysregulation Profile (CBCL-DP). At t2, parents completed a questionnaire on their children's media availability, usage times, and GD.Results: ED predicts a more intense use of digital media in the future. The daily average screen-use time at t2 varies significantly between the groups (148 min for children with ED at t1 and 85 min for children without ED at t1). The intensity of media use can be considered a significant predictor for the presence of a GD in dimensional assessment. When GD is classified categorically, according to the DSM-5 criteria, there is no significant correlation between ED and later GD diagnosis, neither between screen-use time and GD diagnosis. However, at dimensional level, preschool children with ED show significantly higher GD symptom scores at 9 years of age.Conclusion: ED at preschool age is strongly associated with time spent video gaming and GD symptoms 5 years later. Our results strongly indicate that emotion dysregulation in preschool children is a risk factor for later problematic video game playing behavior. This strengthens the concept of ED in the etiology of media use and provides potential targets for early GD prevention.

The popularity of video gaming and eSports is increasing rapidly. However, most research focuses on the economical features and psychological consequences of gaming and only little is known about the health behavior of the players. Therefore, this study is a follow-up of the eSports Study 2019 and further investigates the health and health behavior of video game and eSports players in Germany. This cross-sectional study, conducted between April and September 2019, includes 1038 players (91.2% male; 23.0 ± 5.4 years; body mass index: 24.8 ± 5.0 kg/m2) who provided data regarding their health status, physical activity, sleep, media consumption, stress and wellbeing via a web-based survey. Descriptive statistics were performed on all questions. Linear regressions were used to examine the relation between media consumption, wellbeing and stress. Almost all respondents classified their health status as “good” or better (92.5%). The average sedentary and physical activity time was 7.2 ± 3.5 h/day and 8.8 ± 10.7 h/week, respectively. Respondents slept for 7.5 ± 1.3 h/night on weekdays and for 8.5 ± 1.5 h/night on weekends, but many were “sometimes” or more frequently overtired (53.1%). Daily duration of playing video games (230.4 ± 159.3 min/day) and watching livestreams and videos with (102.6 ± 101.7 min/day) and without gaming content (72.9 ± 88.5 min/day) were much higher than watching regular television (18.9 ± 49.1 min/day) or reading analog media (32.1 ± 53.5 min/day). In terms of stress and wellbeing, most players reported low stress levels (13.8 ± 5.7) and reached a moderate average score of 60.1 ± 16.4 out of 100 points in the WHO-5 Well-Being Index. Linear regressions revealed no relevant significant associations. The results indicate good subjective health and health behavior of the target group. However, the high amounts of screen-based media-consumption, as well as the moderate stress and wellbeing levels show potential for improvement. In addition, the target group consumed high amounts of digital media in reference to gaming, while traditional media consumption was distinctly low. Consequently, media campaigns that address health promotion in this target group should use the platforms of digital media instead.

COVID-19 has been an unprecedented global crisis. Besides the public health impact, the pandemic necessitated measures, such as quarantine, travel restrictions, and lockdown, that have had a huge effect on digital screen time, dietary habits, lifestyle measures, and exposure to food-related advertising. At the same time, a reduction in physical activity, an increase of social media consumption, and an increase in fitness tutorials during the lockdown have contributed to body image issues. Emerging evidence from India suggests that peer conversations about appearance as negative body talk (fat talk) is particularly salient in contributing to body dissatisfaction and body perception ideals, which are more prevalent in women. Even though there has been an increase in research on the psychosocial impact of COVID-19, its influence on body image perceptions and consequent distress have been stigmatized and classified as under-spoken areas. With this background, this article reviews research on the biopsychosocial factors that influence body dissatisfaction among women, particularly the role of media. It also highlights the development of body image concerns in India, one of the worst-hit countries in the pandemic, through liberalization, importing Western notions of body instrumentality, demographic shift, and resultant social changes. Finally, the psychosocial strategies for positive body image ideas to prevent and mitigate the adverse effects of body dissatisfaction are discussed, particularly those that focus on cognitive behavioral techniques (CBTs) from the perspectives of positive psychology, media literacy programs, and involvement of the media. Interventions and further research to address body dissatisfaction among women, especially in the post-COVID aftermath, need to be a recognized as a public health goal.

Contemporary democratic discourse places emphasis on accountability as the basis of power legitimacy and the scholarly literature across disciplines has reserved a special space for the media in that process, for better or for worse. But exactly who is held to account, when, how and by whom, remain troubling questions in the study of media, politics and power. Amidst displays of adversarial journalism without fear or favour, how far are powerful interests still able to control the agenda and manipulate outcomes? The research undertaken here set out to interrogate the notion of media spectacle in a different way from which it has been commonly applied in critical media theory. In particular, its intimate association with sensationalism and tabloidisation threatens to obscure the role of spectacle in what are considered the mainstays of ‘serious’ or responsible news. The Sun might still be the most popular newspaper in Britain, and online news the fastest growing platform, but it is the serious news outlets of traditional media – public service broadcasting, broadsheets, weeklies etc – which remain by far the most credible sources of news and information. And it is credibility which holds the key to ideological power. The research involved extensive analysis of archived television news programmes, supplemented by 50 interviews with a cross section of news producers and actors including journalists, news executives, politicians, campaigners, press officers, lawyers and civil servants. The core subject is terrestrial television news in the UK – a public service regulated platform with a longstanding reputation for high quality journalism. My overall concern is not so much with scandal involving official misconduct or misdemeanour, but rather controversies that point to systemic institutional corruption of the kind that transcends individuals and party politics. These controversies are no longer rare exceptions in the contemporary newscape and their existence raises profound questions about the scope of accountability through the media. There has, however, been surprisingly little critical assessment of such coverage. This provided the overarching motivation for the research; a core premise being that only by examining those instances where mechanisms of accountability appear most far reaching, can we gain a new understanding of ideological power in the age of transparency.

Digital technologies are impacting news cultures across the globe in various ways. In this thesis, I explore specifically how the digital platform is influencing hard news reporting practices at the online news websites of the British Broadcasting Corporation (BBC) and the South African Broadcasting Corporation (SABC). I investigate how the formats of the news reports, as well as the techniques and practices adopted for producing them are changing within these institutions. I also investigate the extents to which the role and identity of newsmakers are seen to be shifting in response to specific influences of digital technologies. These analyses are grounded on the theory that media convergence is a significant influencer in this changing space. This thesis finds that the context within which a news organisation operates is a strong influence on how it adapts digital techniques into the existing newsmaking practice. Consequently, the BBC as a PSB (Public Service Broadcaster) from a developed world is seen as having experiences that differ significantly from its counterpart, the SABC which is from the global South. Together, they are both being impacted in ways that are significantly different from private-sector mainstream or alternative news organisations across the two contexts. It also finds that the norms that govern the production of hard online news are deeply rooted in the old media platforms of print, radio and television such that significant continuities can be seen with respect to specific techniques and practices. Further, it finds that some of the hypothesised affordances of the space with regards to the combined use of multimedia, hypertextuality and interactivity to engage the audience are not fully experienced. This thesis therefore concludes that though the digital platform is evolving and hard to predict, its impact on hard news reporting practices is not particularly revolutionary at this present time within these two contexts. However, it is acknowledged that the web does have the immense capacity to support highly innovative interactive forms of storytelling demonstrated through news platforms, formats, and genres such as mobile, live blogs, and multimedia magazine-style soft news projects. Hence, this thesis’ deficiency is that it does not explore the significance of these newest and growing forms. However, in addition to drawing out specific nuances of the British and the South African digital media space, it contributes to providing a non-Western standard for measuring how the online news space is evolving, and fills the perceived gap about how under-researched contexts are appropriating specific digital techniques.

During the last 30 years computer and videogames have grown into a large entertainment industry of economic as well as cultural and social importance. As a distinctive field of academic inquiry begins to evolve in the form of Game Studies, the majority of approaches can be identified as emerging either from a background of literary theory which motivates a concentration on narrative structures or from a dedicated focus on the rules of video and computer games. However, one of the most evident properties of those games is their shared participation in a variety of spatial illusions. Although most researchers share the view that issues related to mediated space are among the most significant factors characterising the new medium, as of yet, no coherent conceptual exploration of space and spatial representation in video and computer games has been undertaken. This thesis focuses on the novel spatial paradigms emerging from computer and video games. It aims to develop an original theoretical framework that takes the hybrid nature of the medium into account. The goal of this work is to extend the present range of methodologies directed towards the analysis of digital games. In order to reveal the roots of the spatial apparatus at work an overview of the most significant conceptions of space in western thought is given. Henri Lefebvre's reading of space as a triad of perceived, conceived and lived space is adopted. This serves to account for the multifaceted nature of the subject, enables the integration of divergent spatial conceptions as part of a coherent framework, and highlights the importance of experiential notions of spatiality. Starting from Michel Foucault's notion of the heterotopia, game-space is posited as the dynamic interplay between different spatial modalities. As constitutive elements of the dynamic spatial system mobilized by digital games the following modalities are advanced: the physical space of the player, the space emerging from the narrative, the rules, the audiovisual representation and the kinaesthetic link between player and game. These different modalities are examined in detail in the light of a selected range of exemplary games. Based on a discussion of film theory in this context an original model that serves to distinguish between different visual representational strategies is presented. A chapter is dedicated to the analysis of the crucial and often overlooked role of sound for the generation of spatial illusions. It is argued that sound has to be regarded as the privileged element that enables the active use of representational space in three dimensions. Finally the proposed model is mobilised to explore how the work of contemporary artists relates to the spatial paradigms set forth by digital games. The critical dimension of artistic work in this context is outlined. The thesis concludes with a discussion of the impact of the prevalent modes of spatial practice in computer and video games on wider areas of everyday life.

This study is an investigation in and through media arts practice. It set out to develop a novel type of new media artistic praxis built upon concepts drawn from the disciplines of scientific and cultural ecology. The rationale for this research was based upon my observation as a practising new media artist that existing praxis in the new media domain appeared to operate largely without awareness of the ecological implications of those practices. The thesis begins by explaining key concepts of ecology, spanning the arts and the sciences. It then outlines the thinking of contemporary theorists who propose that the problem of ecology is a critical issue for the 21st century, suggesting that our well-documented ecological crisis is indicative of a more general crisis of human subjectivity. It then records an investigation into particular strategies for artistic praxis which might instigate an active engagement with this problem of ecology. The study employed a methodology based in action research to focus upon the development and analysis of three new artistic works, '#14', 'Public Relations' and 'transit_lounge'. These were used to explore diverse theories of ecology and to hone a series of pointers towards Ecosophical arts/new media praxis. This journey constitutes an emergent theory for new media space design. The thesis concludes with a toolkit of tactics and approaches that other arts/new media practitioners might employ to begin working on the problem of ecology.

Summary This thesis explores how massively multiplayer online games (MMOGs), as an exemplary new media form, disrupt practices associated with more conventional media. These intensely social games exploit the interactivity and networks afforded by new media technologies in ways that generate new challenges for the organisation, control and regulation of media. The involvement of players in constituting these games – through their production of game-play, derivative works and strong social networks that drive the profitability of the games – disrupts some of the key foundations that underlie other publication media. MMOGs represent a new and hybrid form of media – part publication and part service. As such they sit within a number of sometimes contradictory organising and regulatory regimes. This thesis examines the negotiations and struggles for control between players, developers and publishers as issues of ownership, governance and access arise out of the new configurations. Using an ethnographic approach to gather information and insights into the practices of players, developers and publishers, this project identifies the characteristics of the distributed production network in this experiential medium. It explores structural components of successful interactive applications and analyses how the advent of player agency and the shift in authorship has meant a shift in control of the text and the relations that surround it. The integration of social networks into the textual environment, and into the business model of the media publishers has meant commerce has become entwined with affect in a new way in this medium. Publishers have moved into the role of both property managers, of the intellectual property associated with the game content, and community managers. Intellectual property management is usually associated with the reproduction and distribution of finished media products, and this sits uneasily with the performative and mutable form of this medium. Service provision consists of maintaining the game world environment, community management, providing access for players to other players and to the content generated both by the developers and the other players. Content in an MMOG is identified in this project as both the ‘tangible’ assets of code and artwork, rules and text, and the ‘intangible’ or immaterial assets of affective networks. Players are no longer just consumers of media, or even just active interpreters of media. They are co-producing the media as it is developed. This thesis frames that productiveness as unpaid labour, in an attempt to denaturalise the dominant discourse which casts players as consumers. The regulation of this medium is contentious. Conventional forms of media regulation – such as copyright, or content regulation regimes are inadequate for regulating the hybrid service/publication medium. This thesis explores how the use of contracts as the mechanism which constitutes the formal relations between players, publishers and developers creates challenges to some of the regimes of juridical and political rights held by citizens more generally. This thesis examines the productive practices of players and how the discourses of intellectual property and the discourses of the consumer are mobilised to erase the significance of those productive contributions. It also shows, using a Foucauldian analysis of the power negotiations, that players employ many counter-strategies to circumvent the more formal legal structures of the publishers. The dialogic relationship between players, developers and publishers is shown to mobilise various discursive constructions of the role of each. The outcome of these ongoing negotiations may well shape future interactive applications and the extent to which their innovative capacities will be available for all stakeholders to develop.

Sense-making of spatial data on an urban level and large-scale decisions on new infrastructure projects need teamwork from experts with varied backgrounds. Technology can facilitate this collaboration process and magnify the effect of collective intelligence. Therefore, this work explores new useful collaboration interactions and visualizations for map-exploration software with a strong focus on usability. Additionally, for same-time and same-place group work, interactive table-top displays serve as a natural platform. Thus, the second aim of this project is to develop a user-friendly concept for integrating table-top displays with collaborative map-exploration. To achieve these goals, we continuously adapted the user-interface of the map-exploration software RAISE. We adopted a user-centred design approach and a simple iterative interaction design lifecycle model. Alternating between quick prototyping and user-testing phases, new design concepts were assessed and consequently improved or rejected. The necessary data was gathered through continuous dialogue with users and experts, a participatory design workshop, and a final observational study. Adopting a cross-device concept, our final prototype supports sharing information between a user’s personal device and table-top display(s). We found that this allows for a comfortable and practical separation between private and shared workspaces. The tool empowers users to share the current camera-position, data queries, and active layers between devices and with other users. We generalized further findings into a set of recommendations for designing user-friendly tools for collaborative map-exploration. The set includes recommendations regarding the sharing behaviour, the user-interface design, and the idea of playfulness in collaboration.

This study deals with finding a way to enable citizen-led urban innovation through technology while concentrating on various aspects of controversial city developments. Therefore the literature concerning this topic is first investigated and current online systems designed for citizens to engage in city development decisions explored. In addition, literature, approaches and systems related to conflict resolution are also presented and discussed. By means of applying multiple design cycles, including several user studies, an online platform for citizens to elaborate controversial ideas for the city together was developed. These design cycles were focused on first finding a suitable process to elaborate on ideas and find consent. The process implementing this is tested during two workshops that portray the procedure that would be realised on the platform. Findings after each workshop are used to revise the process. In order to design a user interface that could implement such a process first an expert focus group was asked to brainstorm solutions for multiple design questions. Considering this input two platform mock-ups were created and shown to participants to receive feedback. A final prototype of the online platform was then implemented and tested in a final user study. During this study participants elaborated an idea together to test the whole resulting product, while being able to use the online platform in an in the wild setting. In spite of discovering how dependent the usage of the platform is on its users, the feedback received for the general idea of using an online platform to elaborate on ideas and find consent was overall positive.

The prevalence of social media in political campaigns are changing the face of politics in the United States and abroad. The rapid pace at which this change is occurring demands inquiry into the previously unexplored area of unconventional political campaign messaging practices on social media. Investigation of Donald Trump’s use of tweets as rhetorical strategy in the discursive space of Twitter during the 2016 U.S. presidential campaign revealed a bypass of traditional media and its source verification processes. This circumventing of mainstream media channels facilitated Trump’s deployment of an unchecked ‘broken system’ narrative alleging government corruption

and a rigged system. Trump’s tweet discourses tapped into existing feelings of disenfranchisement and disaffection felt by a self-identified politically marginalized segment of society. This study

investigates how social media use in political campaigns can serve as a public sphere for contestation of social and political norms. An interdisciplinary theoretical frame comprised of Feenberg’s critical theory of technology, McLuhan’s media ecology, Fraser’s counterpublic spheres, and Iser’s implied reader offer new understandings about the power of anti-establishment discourses and a hybrid discursive space to destabilize governing institutions and redefine social and political identities. Study of Trump’s tweets as rhetorical strategy granted insights into the social and political capacity of alternative truth to undermine the political process. Further, it uncovered the power of social media to awaken and leverage existing political identities for personal political gain.

External representations (ERs) used in science education are multimodal ensembles consisting of design elements to convey educational meanings to the audience. As an example of a dynamic ER, an animation presenting its content features (i.e., scientific concepts) via varying the feature’s depiction over time. A production team invited the dissertation author to inspect their creation of a biochemistry animation about the role of the actin cytoskeleton in cell motility and the animation’s implication on learning. To address this, the author developed a four-step methodology entitled the Multimodal Variation Analysis of Dynamic External Representations (MVADER) that deconstructs the animation’s content and design to inspect how each content feature is conveyed via the animation’s design elements.

This dissertation research investigated the actin animation’s educational value and the MVADER’s utility in animation evaluation. The research design was guided by descriptive case study methodology and an integrated framework consisting of the variation theory, multimodal analysis, and visual analytics. As stated above, the animation was analyzed using MVADER. The development of the actin animation and the content features the production team members intended to convey via the animation were studied by analyzing the communication records between the members, observing the team meetings, and interviewing the members individually. Furthermore, students’ learning experiences from watching the animation were examined via semi-structured interviews coupled with post- storyboarding. Moreover, the instructions of MVADER and its applications in studying the actin animation were reviewed to determine the MVADER’s usefulness as an animation evaluation tool.

Findings of this research indicate that the three educators in the production team intended the actin animation to convey forty-three content features to the undergraduate biology students. At least 50% of the student who participated in this thesis learned thirty-five of these forty-three (> 80%) features. Evidence suggests that the animation’s effectiveness to convey its features was associated with the features’ depiction time, the number of identified design elements applied to depict the features, and the features’ variation of depiction over time.

Additionally, one-third of the student participants made similar mistakes regarding two content features after watching the actin animation: the F-actin elongation and the F-actin crosslink structure in lamellipodia. The analysis reveals the animation’s potential design flaws that might have contributed to these common misconceptions. Furthermore, two disruptors to the creation process and the educational value of the actin animation were identified: the vagueness of the learning goals and the designer’s placement of the animation’s beauty over its reach to the learning goals. The vagueness of the learning goals hampered the narration scripting process. On the other hand, the designer’s prioritization of the animation’s aesthetic led to the inclusion of a “beauty shot” in the animation that caused students’ confusion.

MVADER was used to examine the content, design, and their relationships in the actin animation at multiple aspects and granularities. The result of MVADER was compared with the students’ learning outcomes from watching the animation to identify the characteristics of content’s depiction that were constructive and disruptive to learning. These findings led to several practical recommendations to teach using the actin animation and create educational ERs.

To conclude, this dissertation discloses the connections between the creation process, the content and design, and the educational implication of a biochemistry animation. It also introduces MVADER as a novel ER analysis tool to the education research and visualization communities. MVADER can be applied in various formats of static and dynamic ERs and beyond the disciplines of biology and chemistry.

Due to Covid-19 disease, which has an increasing negative impact on the world day by day and has been classified as a pandemic by the World Health Organization, continuing education remotely at various levels has brought with it very important discussions. Perhaps, one of the most crucial of these is the increased screen usage times. The intensive use of digital media in all areas of our social life has brought to mind the frequent handling of the time spent by children and young people in front of the screen in the pre-pandemic period by academia and nonacademies. However, with the pandemic, the education process is carried out entirely in distance; in addition to that, with the elimination of the need for socialization, entertainment and information due to screens, which became the sole medium for socialization, entertainment and information, has further increased the importance of studies that reveal the effect of screen usage time on children and young people. From this perspective, our study is based on Sonia Livingstone's approach to addressing screen use not only through "risks" but also through "opportunities". When it comes to screen use and "screen time", parents and teachers evaluate screen time within the framework of technological addiction; they did not focus on the nature of screen use and how to convert it into technological competence. The main purpose of this study is to reveal the approaches of parents and teachers regarding screen times of high school students. In this context, the literature within the framework of "screen time", "technological addiction" and "technological competence" has been scanned for the research part of the study, in-depth interviews were conducted with the parents and teachers of students of different types of high schools throughout Istanbul. Due to the pandemic conditions during our time, the interviews were conducted digitally through a questionnaire; different questionnaire have been prepared for teachers and families. The findings obtained as a result of in-depth interviews were evaluated with six main headings. Headings are as foolows: screen times of young people, risks that young people may face during media use, parents' perception of technological proficiency, teachers' perception of technological proficiency, parents' approaches to screen time of young people and teachers' approaches to screen time. It is hoped that the study will contribute to the literature on the axis of digital technologies and education.