PDF Formate im interaktiven Fernsehen: Eine explorative Analyse (German Edition)

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Held on October 1, Presentation at Litteraturhuset , Oslo on september 5th.

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Lund, Sweden, may 28, Bots or Humans? A large-scale analysis of news linking on Twitter. Studying political social media use: insights from Scandinavia. Held on october 2, To be published in the september issue of Mercury Magazine. Available here pdf. Challenging or reproducing structures? Non- use of online interactivity. Held on february 29, Studying social media. Methodological and ethical challenges. Held on february 28, Politisk twitterbruk i Skandinavia og demokratisk betydning.

Oslo, Norway. Held on january 24, Visualization of talk by Esther Buchmann. Presentation at Uppsala senioruniversitet Uppsala university of the third age , held on december 13, Understanding use and non-use of online interactivity. Presentation at the Department of Media and Communication, University of Oslo , held on december 6, Researching social media.

Held on october 24, Presentation at Social Media Club Uppsala , held on september 20, Twitter use during the Swedish election — and beyond. Twitter use in Scandinavian politics. Presentation at Copenhagen Business School , held on march 22, Organizations online — How do they use their web presences? The Swedish election and beyond — Two ongoing research projects. Presentation at Uppsala Learning Lab , held on november 24, Online newspapers and interactivity. Presentation at Internetdagarna , held on october 26, Broadcast on Swedish television, available on YouTube and iTunes. Nettavisenes interaktive funksjoner — fra avisenes og lesernes perspektiv.

Presentation held for the Interactive media group at Aftonbladet. Media appearances in reverse chronological order Back to the top. Ekeli Mullis, Magnus Ekspertene delte om Wiraks Facebook-stopp. Interview in Stavanger Aftenblad , november 23, Pdf available here. Interview on Norwegian radio P2, july 16, Interview on Norwegian radio P2, july 10, Interview on Norwegian radio P4, march 20th, Jerijervi, Dag Robert Interview in Kampanje , published on march 16th, Interview on Swedish radio, broadcast on december 18th, Lindi, Marte Interview for NRK Finnmark , published online on october 22, Sandvik, Siv Radio feature regarding the use of social media by Norwegian politicians.

Broadcast on NRK radio P1 on july Journalism Research News Which social media posts by newsrooms gather most likes and comments? News sharing on Facebook and Twitter. More transparency is needed in moderation. Jacobsson, Robert Available at medium. Lavik, Maria Mislik og del. Klassekampen, december 28th. Gilberg, Lars Amdahl, Pernille Sinte nyheter deles mest. Interview on NRK public service radio regarding news sharing on social media. Broadcast december 5th. Elite interaction on Twitter. Published online on october 5th. Valle, Josefine Produsere, kuratere, publisere.

Interview in Krea magazine — Gullkalven Sylvis Verden. Interview with NRK regarding the use of social media by populist politicians. Audience not interest in offered news. Published online on march Nilsson Ridola, Hilde Interview regarding social media use during the Norwegian Elections. Myndighetene tar i bruk sterke, digitale virkemidler mot radikalisering. Interviewed together with Unn Conradi Andersen regarding web portal to help against radicalization of youth. Published in Aftenposten on november Irenius, Lisa Research on right-wing extremists on Twitter featured in Svenska Dagbladet.

Thonhaugen, Markus Interview for NRK Nordland regarding fake online news. Hatet ulmer. Interview for Klassekampen regarding online hate speech in the wake of the july 22 terror attacks in Oslo. Letmark, Peter Feature regarding research on social media use during the Swedish elections.

Dagens Nyheter , october 8th. Kalsnes, Bente Feature regarding my research on permanent uses of social media by political actors, featured in Morgenbladet , september 26th. Torgersen, Hans O. Twitter-krigen raser for fullt. Interview regarding uses of social media in the Gaza strip conflict. Published in Aftenposten. Politiker, sosiale medier og pressen. Interview regarding uses of social media by politicians. Broadcast on NRK P2 on july 4th.

Experiencing Video Games, Film, and Television

Discussant regarding journalism and politics online, Radio Nova, broadcast on april 10, Erlingsen, Hilde Frp vinner kampen om Facebook. Dvergsdal, Henrik Interview for Forskning. Severinsen, Johanne Bisgaard, Anders B Featured in Kampanje , september 9. Interview in Adresseavisen , september 9. Milder, Julia Sociala medier allt viktigare i norsk valkampanj. Interview for Swedish Public Service Radio, september 9. Salvesen, Geir Interview in Aftenposten , september 5.

Nipen, Kjersti Lille Venstre er Twitters gigant. Featured in Aftenposten , september 5. Han er Twitter-Kongen. Interview in Kampanje regarding Twitter use by Norwegian politicians, september 5. Available here mp3. Interview in Dagbladet , published march 19, Interview in Uppsala Nya Tidning , published september 23rd, De invloed van sociale media op de verkiezingen. Het Laatste Nieuws belgian newspaper , published online on september 3, Available here or here pdf. Meyer, Robinson The Atlantic, published online on august 22, Interview in Universen, issue 4, page Sociala medier har inte revolutionerat politisk kommunikation.

Interview in Ajour , published online on june 6, Odlander, Johanna Interview in Uppsala Nya Tidning , published may 9, Available here pdf scan. Gunnarsson, Maria Interview for 24 UNT , broadcast on may 8, Severin, Malin Interview in Uppsala Nya Tidning , published march 11, Mein Letzter Internetwille — Testament Online. Interview for Deutsche Welle Online , published february 22, Hulth, Annica Interview in Universen Lundvik, Peter Internal magazine for the Uppsala police department. Published february 26, Bloggen — maktfaktorn?

Interview for Relation. Matsson, Katarina Interview in Metro, march 7, Debate article published on newsmill. Pettersson, Bosse Sociala medier. Interview on Swedish radio, Karlavagnen , october 25, Stiernstedt, Jenny Interview in Uppsalatidningen, nr. Available here pdf, p. Vowles, Kjell Uppsala Fria Tidning, august 18, Westberg, Anna Experten: Modebloggar vanligast bland unga tjejer. Interview in Metro, february 22, Wiklund, Kalle Interview in Metro, february 9, To be held in Montreal, Canada, october.

Late and early May There are, in this temporally organised structure, other elements that are important for the narrative, the terminology of which is taken from scriptwriting: the hook, the plot and the crisis or intensification of the conflict as the moment of highest tension. It is the hook on which the attention of the audience is caught. This can happen through a sudden event or the introduction of an unexpected person.

Dr. Vera Hennefeld

The audience is psychologically drawn into the action, curiosity is aroused. As such, the hook is one of the most important psychological communication features of classical dramaturgy. Plot 1 is built up in the first act and, as a rule, leads over into the second act. After the beginnings of the story have been introduced, the plot develops a twist in what is accepted as having happened thus far. This is often an unforeseeable event that is extremely unsettling or confusing for the protagonist.

This is where the actual story begins, which intensifies up until the confrontation.

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Plot 2, a further unforeseeable event, gives the story another lasting, completely surprising twist and leads to the inevitably dramatic climax. This plot is at the end of the second act and chiefly determines the third act, followed by the resolution of the conflict.

From this sequence of events, a growing dramaturgical intensity can be read, which serves to captivate the audience in the narrative over a fixed period. Dramaturgy aims to create an effect. Dramaturgy is a system of communicative and perception-psychological strategies. Complex stories have additional sub-plots, which introduce new people and other situations.

These include memories, so flashbacks, or the anticipation of future events, and also dream situations and parallel plots. These are the most common narrative strands or sub-plots. The media modification of time and space: dissolution of chronology. It is already clear from these statements that linear stories contain non-linear elements. Acts, sub-plots, montage, and cinematographic time disrupt the linearity. However, what happens is still presented in chronological order. This also goes for the representation of the cinematic space, whose spatial linearity is partially disrupted, but which can ultimately only open up along a temporal axis.

The interruption of chronology represents the really significant jump to the development of an interactive dramaturgy and offers up numerous points of contact for the scenographic design for exhibitions.

Research Methodology (Part 2 of 3): 14 Types of Research Methods - Where to Apply?

The work of the museum designer is similar to that of a designer of interactive media. It ranges from the specification of chronological processes or events to individually determinable voyages of discovery for the visitor, from controlled paths of learning to the open structure of an explorative environment.

The individual availability of time, a non-linear exploration of the space as well as the engagement with diverse exhibits, which are artificially condensed into museal time and spatiality like snippets from various epochs, cultures and geographic contexts, are all characteristics that are also particular to interactive programmes. Even more examples that produce structural similarities between traditional narrative forms and new media can be listed in this context. On the other hand the dramaturgic framework contributes to a necessary orientation and a thematic continuation of the action. Television behaviour: Farewell to classical viewing habits and dramaturgic rules.

The large-scale introduction of the infrared television remote control changed television in an almost revolutionary way. Television is no longer a single broadcaster, but rather a system of numerous broadcasters and this will continue into the future with cross-media high-performance broadband networks—i. In the last ten years television has already bid farewell to classical dramaturgy.

Television is the medium of non-chronological communication, links and mega-stories. Television has already changed our perception habits and has developed its own conventions beyond those of film, theatre and literature. For example, stories are continually interrupted by blocks of adverts or actively by the channel-hopping viewer.

Additionally, passionate television viewers only rarely concern themselves with one programme, but are more inclined to parallel viewing. This has logically led to the development of television-specific formats, altered dramaturgies and contents. It shows which channels were selected and left or interrupted by blocks of advertising AD.

The viewer navigates through four channels and temporarily comes back to previously selected programmes over six units of time. What is interesting is that channel-hopping clearly does not lead to considerably losing touch with previously selected programmes or make them no longer comprehensible. In fact, standardised contents and dramaturgies resolve this contradiction, the over-all context remains understandable and can be consumed as a kind of mega-story.

The smallest units already enable an understanding of the whole. Genres therefore follow very rigid rules: sports programmes, soaps and talk shows can be deciphered and understood in parallel. It is also interesting to check to what extent both coincidental and interest-led hopping between topic areas, so what we can clearly call changed communication behaviour, is relevant for exhibition concepts.

What becomes striking is that there is a growing willingness on the part of viewers or also visitors to link contents associatively with one another and to accept or expect considerably more complex perception structures. What happens when the visitor orientates themselves according to these patterns? Can an exhibition dramaturgy incorporate these patterns of behaviour in a meaningful way? Does scenography predetermine patterns of behaviour? Or do the communication habits of the visitor predetermine scenographic guidelines?

Media behaviour: Interactivity as a component of dramaturgic and scenographic designs. Interactive media such as the World Wide Web, the CD-ROM or interactive television are based on individual choices and perception preferences and on individual units of time. This applies equally to exhibitions: they are basically interactive environments that are accessible in similar ways.

The visitor behaves actively. He decides on the focus of interest, he determines individually how long to stay, he can leave predefined sequences and—like a channel-hopping pattern—navigate through the exhibition. Interesting in this respect is the recourse to dramaturgic rules and their transferability to interactive situations, whether these be purely media-based or, as in the exhibition context, spatially related. They develop surprising moments parallel to the plot in order to capture the attention. They offer sub-plots or discovery paths, in order to escape chronological one-dimensionality.

They culminate in climaxes, also in gratification for the effort afforded and should, preferable, end in an interesting moment of resolution. In principle, these are communicative strategies that are implemented through dramaturgic rules. Diagram 5 represents a possible, greatly simplified model of an interactive programme, which could also be transferred to exhibition situations.

The main theme is divided into four sub-themes, which correspond with one another on various levels. Two methods of resolution or approaches programme A and B , which can be followed on various paths, are offered. Every sub-theme or path contains dramaturgic elements, which can be classified as communicative strategies. At the same time, they determine the framework of the creative implementations or scenographic executions. These features of an interactive programme can, in my view, be projected onto a creative exhibition concept without any problems.

The space as metaphor: Navigation as dramaturgic element. Interactive media and exhibition design come even closer to the structural organisation of information. Most interactive products deviate from the linear stringing together of their different theme areas. They allow the viewer to explore thematic fields according to various spatial patterns. The space thus becomes a metaphor of interactive navigation and orientation strategies. Michael Utvich, author of interactive media programmes, has designed virtual communication spaces for various types of navigation, derived from architectural models diagram 6.

Navigation spaces can consequently take on the form of maps or plans, be presented as campus or fan, appear as concentric rings or clusters and so on. These spatial models accommodate complex story and narrative worlds. In addition they contain two completely essential functions: they serve, on one hand, as orientation for the viewer or the visitor in exhibitions and on the other, organise or structure the content. These space models thus contain essential guidelines for the author and exhibition designer, as well as guiding the user.

They are the framework of the exhibition script, which codifies both the demands made of the design and visitor management. As in most spatial orientation models, rules, a kind of guidance system, must also be created and observed here. Interactive programmes are based on rules that have to be created by the author and learned by the user. For example, that one can only reach level C if levels A and B are passed through, thus also a consistently chronological moment.

Certain rules of interactive programmes have already become part of a conventionalised symbolic and behavioural system, for example instructions that are found in navigation areas or navigation bars, pop-up menus, changes in cursor, image and sound etc. A comparable situation is found in the exhibition context. The exhibition designer determines patterns of hierarchies or also levels and paths on equal footing. Only very little is known about the process of interaction and particularly, about how interactive displays activate engagement of passers-by and encourage intensive user-interaction.

Publications etc.

Limitation 2: Real-world studies are needed to fully understand public interaction processes. Long before the development of the computer, the mirror was used as a medium for visual simulation. Virtual worlds were simulated for hundreds of years. The mirror was the central instrument for the creation of a virtual world. The creation of illusion was its inherent function. The images that arise through the reflections on its surface exist only apparently.

They reflect back another real image fictionally. The ability to capture the real world and reflect it back in a true to life or even distorted way was for a long time the sole privilege of the mirror. Today this ability is emulated via digital media technologies. As a consequence a variety of digital techniques for visual simulation have taken root that operate within the tradition of past mediums.

They consistently fulfil the same goal: they satisfy the needs of the viewer and meet his or her desire for visual simulation. Independent from content and fictional histories the desire for immersion is at the fore: in striving to experience fictional worlds we are searching for an experience similar to that of jumping into a swimming pool or into the ocean. The experience of being completely submerged in another reality.

We enjoy leaving our familiar world behind and exploring the characteristics of the new environment. We want to swim around and see new possibilities arise. The figure follows any movement of the user, appearing to have a live on its own within the mirror. The digital mirror of the ALIVE project is the interface that reflects the picture of the user in a virtual world. The function of the mirror is implemented in the hardware, in this case the camera that records the picture and the screen that visualizes the user next to the comic figure.

In the development of new media, the camera is the central interface for users and the screen the visualization component.