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Denna uppsats utforskar hur elektroniska spel fungerar som medium för berättande genom att undersöka aspekter av debatten som ägde rum i början av 2000-talet mellan narratologer och ludologer, angående hur man bäst bör närma sig och studera spel. Med rötterna i en jämförelse av hur ludologer och spelteoretiker närmar sig ämnet försöker uppsatsen sedan bredda perspektiven genom att jämföra den narratologiska strukturen hos spelet med mer konventionella medier för berättande, såsom filmer och litteratur. Genom att jämföra de traditionella strukturerna med strukturen och den inneboende berättelsen i spelet Amnesia: The Bunker, blir det tydligt att spelet överensstämmer med narratologiska egenskaper. Spelet innehåller en välskriven berättelse och detta faktum bör inte avfärdas på grund av att den presenteras i det interaktiva formatet ett spel utgör. Syftet med denna uppsats är inte att avvisa ett ludologiskt tillvägagångssätt eller hävda att spelet är något annat än ett spel. Målet är snarare att belysa komplexiteten i formatet och – precis som debatten slutligen gjorde till viss del – komma fram till slutsatsen att en narratologisk angreppspunkt är möjlig vid studerandet av spel men den bör inte utesluta andra forskningsmetoder, och vice versa., This essay explores the topic of video games as a storytelling medium by examining certain aspects of the debate that took place in the early 2000s between narratologists and ludologists, regarding how to best approach and study video games. Taking root in a comparison between how ludologists and game theorists approach the subject of video games, the essay then attempts to broaden the perspectives by comparing the narratological structure of the game to classical structures seen in more conventional forms of storytelling, such as movies and literature. By comparing such structures to the structure and inherent narrative in the game Amnesia: The Bunker, it becomes evident that the game aligns with narratological attributes. The game contains a well-written story, and this should not be dismissed by the fact that it is presented in the interactive format of a video game. The purpose of this essay is not to reject a ludological approach or to claim that the game is anything else but a game. The aim is rather to highlight the complexity of the format and – just like the debate eventually did to some degree – come to the conclusion that a narratological approach to video games is possible but it should not exclude other methods of research, and vice versa.

Denna uppsats utforskar hur elektroniska spel fungerar som medium för berättande genom att undersöka aspekter av debatten som ägde rum i början av 2000-talet mellan narratologer och ludologer, angående hur man bäst bör närma sig och studera spel. Med rötterna i en jämförelse av hur ludologer och spelteoretiker närmar sig ämnet försöker uppsatsen sedan bredda perspektiven genom att jämföra den narratologiska strukturen hos spelet med mer konventionella medier för berättande, såsom filmer och litteratur. Genom att jämföra de traditionella strukturerna med strukturen och den inneboende berättelsen i spelet Amnesia: The Bunker, blir det tydligt att spelet överensstämmer med narratologiska egenskaper. Spelet innehåller en välskriven berättelse och detta faktum bör inte avfärdas på grund av att den presenteras i det interaktiva formatet ett spel utgör. Syftet med denna uppsats är inte att avvisa ett ludologiskt tillvägagångssätt eller hävda att spelet är något annat än ett spel. Målet är snarare att belysa komplexiteten i formatet och – precis som debatten slutligen gjorde till viss del – komma fram till slutsatsen att en narratologisk angreppspunkt är möjlig vid studerandet av spel men den bör inte utesluta andra forskningsmetoder, och vice versa., This essay explores the topic of video games as a storytelling medium by examining certain aspects of the debate that took place in the early 2000s between narratologists and ludologists, regarding how to best approach and study video games. Taking root in a comparison between how ludologists and game theorists approach the subject of video games, the essay then attempts to broaden the perspectives by comparing the narratological structure of the game to classical structures seen in more conventional forms of storytelling, such as movies and literature. By comparing such structures to the structure and inherent narrative in the game Amnesia: The Bunker, it becomes evident that the game aligns with narratological attributes. The game contains a well-written story, and this should not be dismissed by the fact that it is presented in the interactive format of a video game. The purpose of this essay is not to reject a ludological approach or to claim that the game is anything else but a game. The aim is rather to highlight the complexity of the format and – just like the debate eventually did to some degree – come to the conclusion that a narratological approach to video games is possible but it should not exclude other methods of research, and vice versa.

Den snabba tillväxten av uppkopplade enheter som samlar in och delar data leder till att användare kommer behöva läsa och godkänna alltmer sekretessmeddelanden för att kunna använda enheter och tjänster. Sekretessmeddelanden är de avtal som definierar villkoren för användning av en produkt eller tjänst och är avsedda att informera användare om insamlingen och användningen av deras data och personuppgifter innan valet att acceptera eller neka fattas. Sekretessmeddelanden tenderar vara långa samt innehålla mycket text med ett komplicerat språk. Texten i sekretessmeddelanden är ofta statisk utan användarinteraktion, vilket leder till att användare möts av en lång text att läsa utan någon form av stöd i form av designelement, exempelvis färg, ikoner, överblick eller interaktioner. Avsaknaden av designelement är en av orsakerna till att användare idag antingen förbiser eller accepterar sekretessmeddelanden utan att förstå innebörden, vilket får konsekvenser för användarens integritet. På grund av detta är det av stor vikt att användarna har en klar förståelse för hur deras integritet påverkas vid godkännande av ett sekretessmeddelande. Syftet med studien är att öka kunskapen inom området, och erbjuda och stötta designers i deras tillvägagångssätt kring hur sekretessmeddelanden kan designas för att främja användarens förståelse. Studien genomfördes genom en kvalitativ designstudie där ett befintligt ramverk skapat för design av sekretessmeddelanden kombinerades med identifierade designelement från litteraturstudien. Designelementen och ramverket användes vid framtagningen av fyra designförslag, vilka implementerades i en prototyp för att undersöka hur förståelse kan främjas i sekretessmeddelanden. Resultatet av studien är fyra designförslag som stöttar användaren att uppnå förståelse., The rapid growth of connected devices that collect and share data leads to users needing to read and approve an increasing number of privacy notices to use devices and services. Privacy notices are agreements that define the terms of use for a product or service and are intended to inform users about the collection and use of their data and personal information before deciding to accept or decline. Privacy notices tend to be lengthy and contain a lot of text with complicated language. The text in privacy notices is often static without user interaction, which leads to users being faced with a long text to read without any form of support in terms of design elements, such as color, icons, overview, or interactions. The lack of design elements is one of the reasons why users today either overlook or accept privacy notices without understanding the implications, which has consequences for the user's privacy. Because of this, it is of great importance that users have a clear understanding of how their privacy is affected by accepting a privacy notice. The purpose of the study is to increase knowledge in the field and offer and support designers in their approach to how privacy notices can be designed to promote user understanding. The study was conducted through a qualitative design study where an existing framework created for the design of privacy notices was combined with identified design elements from the literature study. The design elements and framework were used in the development of four design proposals, which were implemented in a prototype to investigate how understanding can be promoted in privacy notices. The result of the study is four design proposals that support users in achieving understanding.

The objective of this study is to explore differences between prominent and subtle product placement (PP) interaction levels on consumer cognitive, behavioral and affective outcomes within virtual reality (VR) gaming context. Leveraging a quantitative approach, the study employs a between group experimental design to investigate the influence of in-game advertising (IGA) interactivity on advertisement recall, product valuation, willingness to consider the brand, interest in the brand, and brand favorability. This research draws into theories such as Stimulus-Organism-Response, experiential marketing, vicarious touch, and dialogic engagement to explore the topic. 74 participants from diverse cultural backgrounds, with a significant proportion new to VR technology, participated in the experiments. Findings indicate that advertisement recall was significantly better among people who experienced prominent PP. Interactivity of PP did not have significantly different effects on product valuation, willingness to consider the brand, interest in the brand and brand favorability. Post-experiment interviews with the participants, while not the main part of the study, revealed some interesting insights on PP within VR gaming context. The study contributes to the understanding of VR gaming as an emerging marketing channel and underscores the importance of tailored advertising strategies for VR gaming environments.

The rapid increase in mobile device usage worldwide presents a significant challenge for brands aiming to attract and retain customers. Building customer trust in a brand is essential for achieving this goal. However, the wide variety of mobile devices and intense competition compel manufacturers to incorporate more features into a single device, often resulting in complexity and reduced interactivity, which adversely affects the device's usability. Moreover, mobile devices have profoundly transformed customers' lifestyles, complicating the task of marketers to measure buying behavior trends accurately. Consequently, a deep understanding of customers is necessary for effective segmentation. This research aims to fill this gap by providing a roadmap for academics and practitioners to build brand trust in mobile devices, thereby enhancing the user experience by improving usability and brand trust. This quantitative, cross-sectional, and explanatory study utilized an adapted scale to collect data from a population of mobile device users. A sample size of 534 respondents was gathered through online sources and self-administered questionnaires. The study hypothesized that simplicity, interactivity, and brand trust impact usability, which in turn leads to increased brand trust. Additionally, the study examined the direct impact of simplicity and usability on brand trust. It also sought to explore the mediating effect of usability between its antecedents (simplicity and interactivity) and the consequent brand trust. All hypotheses were accepted, except for the direct impact of simplicity on brand trust. Unlike most existing marketing studies that focus primarily on the direct relationship between brand trust and loyalty, this study introduced a novel model. This model elucidates the relationships between simplicity, interactivity, and usability, demonstrating how these factors collectively influence brand trust.

More than one in five adults in the United States live with a mental illness where it is difficult to access care due to lack of affordable and available mental health services. Discriminatory social and cultural ideologies surrounding mental illness that lend themselves to broader mental health stigma further prevent people from seeking treatment and add to the isolation and exclusion already felt by those grappling with mental illness. Popular media serves as one such arena that can deeply impact stigmatized views of mental health, in whether and how it stereotypically or thoughtfully surfaces and depicts the often hidden and invisible experience of mental illness. Commercially available digital games, those played by hundreds of millions of people in the United States, has a history of leaning on stereotypes that lack depth and exacerbate stigmatizing views toward mental illness. At the same time, digital games can also approach mental health in more thoughtful and nuanced ways and thus might also serve to directly counter and shift perceptions away from harmful and exclusionary stigmatized views toward mental health. Rather than situating digital games as either ‘good’ or ‘bad’ for mental health, this dissertation takes a sociological approach to understanding how people interact with digital games toward broadly crafting meanings and reflections toward their mental health and illness. Using constructivist grounded theory, I conducted 49 in-depth interviews with people who play video games and self-identified as experiencing mental illness, explored digital game content through close play, and piloted an experimental observational interview method with a subset of five participants. This study reveals a social alchemy that occurs between players and digital games in ways that affect mental health. I describe how players weave together digital game content and narratives with the lived experiences that they bring into their gameplay, to create an interactive and

While children can and do learn STEM (science, technology, engineering, and math) skills from interactive media, like smartphone and tablet applications, it is not clear why digital interactivity might benefit children’s learning. As new interactive technologies, like virtual reality, become more popular, it is important to understand the mechanisms behind learning from these media to best design them for learning. Some research demonstrates that interactive media may not produce greater learning than non-interactive media (such as watching a video), and these findings come in contrast to social theories of learning. Another theory that is untested in this area of research is the Limited Capacity for Motivated Media Message Processing which would suggest that working memory demands could hinder children’s learning from interactive media. The current study was an experiment (N = 188, children ages 7-12) in which children completed both puzzles in virtual reality and physical puzzles to demonstrate learning spatial skills. Working memory demands were manipulated through working memory precues that were predictive (children saw a picture of a completed puzzle for 3s) or neutral (children saw a picture of a blank square or rectangle for 3s). Findings demonstrate that the working memory precue manipulation did not relate to number of physical puzzles completed after using virtual reality, but there was a main effect of age such that older children completed more physical puzzles than younger children. Theoretical and practical implications are discussed.

El treball aborda el disseny, implementació i avaluació d'activitats d'ensenyament-aprenentatge gamificades per al CFGM d'Electromecànica de Vehicles Automòbils. La solució proposada cerca valorar l'augment de la motivació en l'alumnat per tal determinar metodologies que evidenciïn facilitar el procés d'ensenyament-aprenentatge a través de la gamificació. El plantejament consisteix a crear un joc en línia, on el sistema de puntuació, la rivalitat i les recompenses siguin potenciadors de la motivació i la participació en l'alumnat. En aquest joc, l'alumnat consulta material didàctic interactiu, i resol tasques per assolir objectius d'aprenentatge i la puntuació associada que els farà ascendir en el rànquing de puntuació per tal superar el joc. Per dur a terme la solució proposada, s'ha seleccionat un tauler d'un joc existent ambientat en una cursa de Fórmula 1, que s'ha redissenyat per a ajustar-se als Resultats d'Aprenentatge del currículum del cicle. El joc de base està compost per diverses activitats, totes gamificades i majoritàriament representen jocs interactius i en línia. La valoració de l'èxit de la proposta està constituïda en l'observació del procés i en un qüestionari de satisfacció que pretén mesurar el nivell d'interès, motivació i el grau d'assoliment dels continguts per part dels participants.

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The creator economy features a pertinent, growing role of content creators and -viewers, revealing this service sub-sector’s rising economic, and strategic, contribution. In parallel, though the customer/stakeholder journey concepts are gaining traction, little is known about the interdependence characterizing online content creators’ and viewers’ (users’) engagement through their respective role-related journeys, as, therefore, explored further in this article. Building on prior literature, we argue that the unfolding of a content viewer’s journey with a creator’s content is fueled by the former’s engagement in their content-related interactions, in turn also impacting the content creator’s journey. To explore these issues, we adopt interdependence theory’s core interactional tenets (i.e., perceived interaction outcomes [i.e., costs/rewards], comparison level, and comparison level for alternatives) and theorize regarding their respective effect on viewers’ journey-based content engagement. We posit that viewers’ engagement also impacts the content creator’s journey, as summarized in a set of Propositions. Overall, the Propositions illustrate how interdependence theory-informed interactional tenets affect content viewers’ and creators’ interdependent role-related journeys, offering novel insight.

Social media has become an important tool for universities to implement strategies to promote, position and differentiate their brand identity, to establish and foster the communicative relationship with their stakeholders. This study explores the interactivity strategy developed in digital communication by 70 leading universities from Europe, the United States and Latin America. A specific quantitative methodology was designed to analyze the universities’ social media publications (90,241). The general communicative approach and the communication resources applied were studied through quantitative content analysis. Results show that the universities have an informational approach in their publications on social networks, with little differences among regions and platforms. Expositive and interactive resources are being used in a broad, integrated manner although there are some differences in each region and social network. Thus, the universities opt for a monological interactivity strategy in their digital institutional communication, with little differences between social networks. They are changing toward a model that continues to prioritize dissemination of information, but it is evolving toward more combination of various communication resources that make content more attractive to their publics. This research provides insights into interactivity strategies used by universities on social networks to develop effective digital communication strategies for enhancing engagement with publics.

Presentation slides are used as one of the main technology tools in the teaching and learning of higher education. This project attempts to examine how presentation software can be enhanced to support more engaging teaching and learning. Field research insights revealed that the functions of already existing presentation software do not support teachers in making presentations more interactive which is one of the reasons of decreased engagement in students. These issues were addressed in the process of suggesting adjustments to a new presentation software. Several qualitative design methods were used in this project such as Observation, Semi structured Interviews, User testing and Prototyping to gather relevant data.The results of the design research suggested adjustments that support teachers in navigating the content of the slides and communicating with students. It also suggested adjustments that would invite students to take an active part in reconstructive learning.

This master's thesis examines traditional singers' artistry in a holistic approach. Through my own artistic practice as a traditional singer and bearer of tradition, and through studies of archival recordings of four traditional singers and a film of singing games from Hedmark, I research the following questions: How can I, by exploring different artistic qualities of traditional singing, design artistic tools for creative processes and performances? How can I design artistic tools for interactive experiences of traditional singing? The project explores the role of being a creative interpreter in the moment. The meeting between a singer, the room, human beings, the audience, songs, sounds, texts and melodies, movements and use of space in a holistic musical and scenic form. How does this meeting affect the artist and the audience’s experiences? The methods are based on hermeneutic theories, and the examination of artistic qualities is delimited to contextual qualities and certain qualities of vocal style and technique. The purpose is to create an artistic context that is closer to traditional contexts, where the distinction between artist and audience is blurred. The artistic outcome of the research is an artistic concept, a folk song performance, documented by a score/music script and films of two performances. The concept is in continuous development and no performances are the same. A result is also an artistic toolkit with playful and exploratory methods that I, and hopefully others, can use and develop further in artistic practice.

Data platforms enable actors to exchange personal and business data. While data is relevant for any digital platform, data platforms exclusively revolve around data artifacts. This paper argues that the specific characteristics of data artifacts challenge the authors' understanding of platform openness. Specifically, it is argued that data artifacts are editable, interactive and distributable, which means that the consequences of opening up a data platform extend far beyond the focal platform and its context. From this, the study infers that the scope of platform openness extends beyond the data platform on which data artifacts originate. At the same time, the very nature of data artifacts afford new mechanisms to realize and reduce the risks of openness. New avenues are suggested to study platform openness in the realm of data platforms. These avenues include (1) exploring and incorporating novel consequences of platform openness in a data platform setting, (2) examining new arenas for defining openness beyond a focal platform's confines, and (3) theorizing the implications of new mechanisms for realizing openness while maintaining apparent control over data artifacts. © The Author(s) 2024.

The creator economy features a pertinent, growing role of content creators and -viewers, revealing this service sub-sector’s rising economic, and strategic, contribution. In parallel, though the customer/stakeholder journey concepts are gaining traction, little is known about the interdependence characterizing online content creators’ and viewers’ (users’) engagement through their respective role-related journeys, as, therefore, explored further in this article. Building on prior literature, we argue that the unfolding of a content viewer’s journey with a creator’s content is fueled by the former’s engagement in their content-related interactions, in turn also impacting the content creator’s journey. To explore these issues, we adopt interdependence theory’s core interactional tenets (i.e., perceived interaction outcomes [i.e., costs/rewards], comparison level, and comparison level for alternatives) and theorize regarding their respective effect on viewers’ journey-based content engagement. We posit that viewers’ engagement also impacts the content creator’s journey, as summarized in a set of Propositions. Overall, the Propositions illustrate how interdependence theory-informed interactional tenets affect content viewers’ and creators’ interdependent role-related journeys, offering novel insight.

The creator economy features a pertinent, growing role of content creators and -viewers, revealing this service sub-sector’s rising economic, and strategic, contribution. In parallel, though the customer/stakeholder journey concepts are gaining traction, little is known about the interdependence characterizing online content creators’ and viewers’ (users’) engagement through their respective role-related journeys, as, therefore, explored further in this article. Building on prior literature, we argue that the unfolding of a content viewer’s journey with a creator’s content is fueled by the former’s engagement in their content-related interactions, in turn also impacting the content creator’s journey. To explore these issues, we adopt interdependence theory’s core interactional tenets (i.e., perceived interaction outcomes [i.e., costs/rewards], comparison level, and comparison level for alternatives) and theorize regarding their respective effect on viewers’ journey-based content engagement. We posit that viewers’ engagement also impacts the content creator’s journey, as summarized in a set of Propositions. Overall, the Propositions illustrate how interdependence theory-informed interactional tenets affect content viewers’ and creators’ interdependent role-related journeys, offering novel insight.

Presentation slides are used as one of the main technology tools in the teaching and learning of higher education. This project attempts to examine how presentation software can be enhanced to support more engaging teaching and learning. Field research insights revealed that the functions of already existing presentation software do not support teachers in making presentations more interactive which is one of the reasons of decreased engagement in students. These issues were addressed in the process of suggesting adjustments to a new presentation software. Several qualitative design methods were used in this project such as Observation, Semi structured Interviews, User testing and Prototyping to gather relevant data.The results of the design research suggested adjustments that support teachers in navigating the content of the slides and communicating with students. It also suggested adjustments that would invite students to take an active part in reconstructive learning.

This master's thesis examines traditional singers' artistry in a holistic approach. Through my own artistic practice as a traditional singer and bearer of tradition, and through studies of archival recordings of four traditional singers and a film of singing games from Hedmark, I research the following questions: How can I, by exploring different artistic qualities of traditional singing, design artistic tools for creative processes and performances? How can I design artistic tools for interactive experiences of traditional singing? The project explores the role of being a creative interpreter in the moment. The meeting between a singer, the room, human beings, the audience, songs, sounds, texts and melodies, movements and use of space in a holistic musical and scenic form. How does this meeting affect the artist and the audience’s experiences? The methods are based on hermeneutic theories, and the examination of artistic qualities is delimited to contextual qualities and certain qualities of vocal style and technique. The purpose is to create an artistic context that is closer to traditional contexts, where the distinction between artist and audience is blurred. The artistic outcome of the research is an artistic concept, a folk song performance, documented by a score/music script and films of two performances. The concept is in continuous development and no performances are the same. A result is also an artistic toolkit with playful and exploratory methods that I, and hopefully others, can use and develop further in artistic practice.

Följande arbete är en kandidatuppsats inom medieteknik som ämnar att förstå möjligheterna med hybridupplevelser inom naturhistoriska och historiska museer utifrån designbyråer och museers erfarenheter, samt öka kunskapen om hur en engagerande hybridupplevelse skapas. Det användes en induktiv ansats tillsammans med semistrukturerade intervjuer av två museer och två designbyråer inom fältet hybrida upplevelser. Empirin analyserades sedan med hjälp av tematisk analys där tre teman med vardera delteman identifierades. Uppsatsen refererar till tidigare forskning om hybridupplevelser inom museisektorn där fokuset ligger på utställningar med både fysiska och digitala komponenter, samt att besökarna befinner sig fysiskt på plats. Utifrån analys och diskussion av uppsatsens resultat drogs slutsatserna att en engagerande hybridupplevelse måste innehålla digitala och fysiska element, samt integrera teknik, design och berättande på ett balanserat sätt. Tekniken, såsom projiceringskartläggning, ger liv åt fysiska ytor och föremål för att skapa autentiska upplevelser. Designen av utställningen och dess fysiska utformning är avgörande för interaktionen mellan besökare och föremål samt för att främja diskussioner och samtal. Digitala verktyg förstärker berättelsen och de interaktiva elementen bidrar till att besökaren uppslukas av berättelsen., The following work is a Bachelor level thesis on Media Technology aimed at understanding the possibilities of hybrid experiences within natural history and historical museums based on the experiences of design agencies and museums, as well as increasing knowledge of how an engaging hybrid experience is created. An inductive approach was used together with semi-structured interviews of two museums and two design agencies in the field of hybrid experiences. The empirical data was then analyzed using thematic analysis, identifying three main themes with respective subthemes. The thesis refers to previous research on hybrid experiences within the museum industry, focusing on exhibitions incorporating both physical and digital components, with guests physically visiting the museum. Based on the analysis and discussion of the thesis results, the conclusion was drawn that an engaging hybrid experience must include digital and physical elements, and integrate technology, design, and storytelling in a balanced manner. Technology, such as projection mapping, brings physical spaces and objects to life to create authentic experiences. The design of the exhibition and its physical layout are crucial for interaction between visitors and objects, as well as for promoting discussions and conversations. Digital tools enhance the storytelling, and interactive elements contribute to immersing the visitor in the narrative.

[Resumen]: La comunicación móvil ha sido una de las grandes revoluciones a las que se han tenido que adaptar los medios de comunicación en la era de digital. La información es uno de los contenidos que toman protagonismo en las programaciones de los canales y por lo tanto en sus apps. El presente artículo profundiza en la evolución de las aplicaciones móviles para smartphone de las televisiones generalistas españolas durante el periodo 2012-2022 concretando este acercamiento en los contenidos informativos y en la interactividad. Se ha desarrollado una metodología mixta, cuantitativa y cualitativa. Dentro de la vertiente cuantitativa se ha realizado un análisis de contenido que ha permitido observar las diferentes estrategias en cuanto al tratamiento de la información en las televisiones objeto de estudio. Por ejemplo, RTVE apuesta de forma clara por la distribución de contenidos informativos en movilidad. Por otra parte, para Atresmedia y Mediaset la información no es prioritaria ya que centran su estrategia en movilidad, a excepción de laSexta, en los contenidos de entretenimiento. En cuanto a la apuesta por la interactividad, su evolución ha ido en descenso debido a que algunas de las televisiones analizadas hicieron en su día una apuesta clara por ofrecer herramientas interactivas creando aplicaciones concretas que la explotaban, pero a día de hoy están descatalogadas. En la actualidad, la información es un contenido secundario para las televisiones privadas y la interactividad se reduce a compartir contenidos por las redes sociales y correo electrónico siendo estas posibilidades muy poco interactivas., [Abstract]: Mobile communication has been one of the great revolutions to which the media have had to adapt in the digital era. Information is one of the contents that take centre stage in the programming of the channels and therefore in their apps. This article examines the evolution of the mobile applications for smartphones of Spanish generalist television channels during the period 2012-2022, focusing this approach on news content and interactivity. A mixed quantitative and qualitative methodology has been used. Within the quantitative aspect, a content analysis has been carried out which has allowed us to observe the different strategies in terms of the treatment of information in the television channels under study. For example, RTVE is clearly committed to the distribution of news content on the move. On the other hand, for Atresmedia and Mediaset, information is not a priority, as they focus their mobile strategy, with the exception of laSexta, on entertainment content. As for the commitment to interactivity, its evolution has been declining due to the fact that some of the television channels analysed once made a clear commitment to offering interactive tools by creating specific applications that exploited it, but today they have been discontinued. At present, information is a secondary content for private broadcasters and interactivity is reduced to sharing content via social networks and email, with very little interactive possibilities.

Despite the complexity of the video game, interest is growing by leaps and bounds due to its increasing relevance in entertainment history, but understanding of the medium is still up in the air. The aim of this study is therefore to investigate the knowledge and skill acquisition of people with little or no gaming experience (non-gamers) about the digital 3D puzzle game Portal within the framework of the Hermeneutic Spiral. Using qualitative interviews, supported by gameplay recordings and think-aloud protocols, eight non-gamers aged 21-69 reveal seven categories that determine the complexity of video game understanding and skill acquisition. Results show that skill acquisition is highly individual and depends on previous gaming experiences in terms of game literacy, the language understanding of games. As they form the basis, general expectations determine the next gaming experience which adds to the catalogue of video game understanding and influence the process of skill acquisition., Trotz der Komplexität des Videospiels wächst das Interesse aufgrund seiner zunehmenden Relevanz in der Unterhaltungsgeschichte sprunghaft an, das Verständnis für das Medium ist jedoch noch nicht gefestigt. Ziel dieser Studie ist es daher, im Rahmen der Hermeneutischen Spirale das Wissen und den Kompetenzerwerb von Menschen mit wenig oder keiner Spielerfahrung (Nicht-Spieler) über das digitale 3D-Puzzlespiel Portal zu untersuchen. Mittels qualitativer Interviews, unterstützt durch Gameplay-Aufnahmen und Think-Aloud-Protokolle, decken acht Nicht-Spieler im Alter von 21-69 Jahren sieben Kategorien auf, die die Komplexität des Videospielverständnisses und des Kompetenzerwerbs bestimmen. Die Ergebnisse zeigen, dass der Kompetenzerwerb sehr individuell ist und von früheren Spielerfahrungen im Sinne von Game Literacy, dem Sprachverständnis von Spielen, abhängt. Die allgemeine Erwartungshaltung bildet die Grundlage für das nächste Spielerlebnis, das den Katalog des Videospielverständnisses ergänzt und den Prozess des Kompetenzerwerbs beeinflusst.

Den snabba tillväxten av uppkopplade enheter som samlar in och delar data leder till att användare kommer behöva läsa och godkänna alltmer sekretessmeddelanden för att kunna använda enheter och tjänster. Sekretessmeddelanden är de avtal som definierar villkoren för användning av en produkt eller tjänst och är avsedda att informera användare om insamlingen och användningen av deras data och personuppgifter innan valet att acceptera eller neka fattas. Sekretessmeddelanden tenderar vara långa samt innehålla mycket text med ett komplicerat språk. Texten i sekretessmeddelanden är ofta statisk utan användarinteraktion, vilket leder till att användare möts av en lång text att läsa utan någon form av stöd i form av designelement, exempelvis färg, ikoner, överblick eller interaktioner. Avsaknaden av designelement är en av orsakerna till att användare idag antingen förbiser eller accepterar sekretessmeddelanden utan att förstå innebörden, vilket får konsekvenser för användarens integritet. På grund av detta är det av stor vikt att användarna har en klar förståelse för hur deras integritet påverkas vid godkännande av ett sekretessmeddelande. Syftet med studien är att öka kunskapen inom området, och erbjuda och stötta designers i deras tillvägagångssätt kring hur sekretessmeddelanden kan designas för att främja användarens förståelse. Studien genomfördes genom en kvalitativ designstudie där ett befintligt ramverk skapat för design av sekretessmeddelanden kombinerades med identifierade designelement från litteraturstudien. Designelementen och ramverket användes vid framtagningen av fyra designförslag, vilka implementerades i en prototyp för att undersöka hur förståelse kan främjas i sekretessmeddelanden. Resultatet av studien är fyra designförslag som stöttar användaren att uppnå förståelse., The rapid growth of connected devices that collect and share data leads to users needing to read and approve an increasing number of privacy notices to use devices and services. Privacy notices are agreements that define the terms of use for a product or service and are intended to inform users about the collection and use of their data and personal information before deciding to accept or decline. Privacy notices tend to be lengthy and contain a lot of text with complicated language. The text in privacy notices is often static without user interaction, which leads to users being faced with a long text to read without any form of support in terms of design elements, such as color, icons, overview, or interactions. The lack of design elements is one of the reasons why users today either overlook or accept privacy notices without understanding the implications, which has consequences for the user's privacy. Because of this, it is of great importance that users have a clear understanding of how their privacy is affected by accepting a privacy notice. The purpose of the study is to increase knowledge in the field and offer and support designers in their approach to how privacy notices can be designed to promote user understanding. The study was conducted through a qualitative design study where an existing framework created for the design of privacy notices was combined with identified design elements from the literature study. The design elements and framework were used in the development of four design proposals, which were implemented in a prototype to investigate how understanding can be promoted in privacy notices. The result of the study is four design proposals that support users in achieving understanding.

Videos bieten einerseits ein grosses Potenzial zur Unterstützung von Lehr-Lern-Prozessen; andererseits stellt ihr primär rezeptiver Charakter mit Blick auf die Aktivierung der Lernenden eine Herausforderung dar. Hier verspricht die Integration interaktiver Elemente einen Mehrwert. Der vorliegende Beitrag stellt die Ergebnisse einer qualitativen Studie vor, die im Jahr 2021 an Berufsschulen in Bayern durchgeführt wurde. Im Rahmen zweier Zyklen eines Design-Research-Vorhabens wurden Wahrnehmung und motivationale Wirkung eines interaktiven Lernvideos zur elementaren Algebra untersucht. Das Video enthält über die üblichen Steuerungsfunktionen hinaus interaktive Elemente, beispielsweise Aufgaben mit automatischem Feedback sowie kognitive Prompts. Es wurde von den Teilnehmenden in einem Laborsetting in Zweierteams bearbeitet. Die im Anschluss an die Bearbeitung geführten Interviews wurden durch eine qualitative Inhaltsanalyse nach Mayring mit der Technik der induktiven Kategorienbildung ausgewertet. Die Ergebnisse des ersten Zyklus zeigen, dass die Lernenden der Interaktion mit dem Video eine grosse Bedeutung beimessen, während Aspekte der Mediengestaltung eine eher untergeordnete Rolle spielen. Daher wurde die Bedeutung der interaktiven Elemente, konkret deren Wirkung auf die Lernmotivation, in Zyklus 2 genauer untersucht. Hier unterstreichen die Ergebnisse das grosse Potenzial interaktiver Elemente für die motivationale Gestaltung von Lernvideos. Dies ist zum einen in situationsspezifischen Anreizen, zum anderen in verschiedenen Personenfaktoren begründet. Aus den Ergebnissen lassen sich Empfehlungen für die Gestaltung interaktiver Elemente in Lernvideos ableiten., Videos offer a great potential to support teaching and learning processes; however, their primarily receptive nature presents a challenge with regard to activating learners. Here, the integration of interactive elements promises some additional value. This paper presents the results of a qualitative study conducted in 2021 at vocational schools in Bavaria. Within two cycles of a design research project, the perception and motivational effects of an interactive learning video on elementary algebra were examined. In addition to the usual control functions, the video contains further interactive elements, such as tasks with automatic feedback and cognitive prompts. Participants worked on the video in teams of two in a laboratory setting. The interviews conducted subsequently were evaluated using a qualitative content analysis according to Mayring with the technique of inductive category formation. The results of the first cycle show that learners attach great importance to interaction with the video, while aspects of media design play a rather subordinate role. Therefore, the importance of interactive elements, specifically their effect on learning motivation, was examined more closely in cycle 2. Here, the results underline the great potential of interactive elements for the motivational design of learning videos. This is based on situational incentives on the one hand, and various personal factors on the other. Recommendations for the design of interactive elements in learning videos can be derived from the results.

In this paper, Smart Villages (SV) are considered to possess smartness associated with community action from the bottom up that contributes to the welfare of the local population in situ, this smartness being more than just an element of information and communications technology (ICT) infrastructure quality and the rural population’s ability to use this technology. The proposed aim is to examine the interactivity on some specific social media platforms (Facebook, Twitter—currently rebranding to X—and YouTube) used by those Spanish profit-free associations responsible for the local management and application of sustainable rural development policies and the relationship of this interactivity with the main territorial features. To this end, 16 indicators have been defined—as the basis for a multivariate analysis of the scaled summations obtained from the indicators—determined by a linear correlation coefficient (r), a principal component analysis (PCA) and a k-means cluster analysis. Once the main results have been obtained and interpreted by landscape, they can facilitate the construction of a smart village ecosystem. The study shows how the interactivity of the administration with the private sector and society is a tool for increasing participation in decision-making processes, and for encouraging transparency and accountability in public bodies, both of which lead to a smarter society. The social media provide effective platforms for the public administration to be able to communicate with society through the publication of relevant information and the creation of community dialogue spaces.]

The advent and spread of social networking sites have been the object of study of most of the research performed on political communication over the past 25 years. However, more recent inquiries have indicated that the political establishment still has not fully exploited the interactive potential of these media. Against this backdrop, this paper presents the results of a systematic study of the communication between the main political parties in Andalusia (the most populous region in Spain) and the citizenry on Twitter, with the aim of confirming whether or not it is really interactive and participatory. To this end, the spotlight is placed here on those parties most active online and on the way in which they foster interactivity, the subjects that they broach and the functions of their messages. The data were obtained from a content analysis of the tweets (n = 10,729) posted on the official profiles of the main Andalusian parties in 2020. The results indicate that there was no interactive communication with the citizenry, despite the fact that they were in much need of reassurance owing to the unprecedented situation to which the COVID-19 pandemic had given rise. The Andalusian political parties still use social networking sites for the one-way dissemination of information, which shows that they are not, in practice, horizontal and participatory spaces of communication, as the cyber-optimists, defending the innovation hypothesis, predicted.

Följande arbete är en kandidatuppsats inom medieteknik som ämnar att förstå möjligheterna med hybridupplevelser inom naturhistoriska och historiska museer utifrån designbyråer och museers erfarenheter, samt öka kunskapen om hur en engagerande hybridupplevelse skapas. Det användes en induktiv ansats tillsammans med semistrukturerade intervjuer av två museer och två designbyråer inom fältet hybrida upplevelser. Empirin analyserades sedan med hjälp av tematisk analys där tre teman med vardera delteman identifierades. Uppsatsen refererar till tidigare forskning om hybridupplevelser inom museisektorn där fokuset ligger på utställningar med både fysiska och digitala komponenter, samt att besökarna befinner sig fysiskt på plats. Utifrån analys och diskussion av uppsatsens resultat drogs slutsatserna att en engagerande hybridupplevelse måste innehålla digitala och fysiska element, samt integrera teknik, design och berättande på ett balanserat sätt. Tekniken, såsom projiceringskartläggning, ger liv åt fysiska ytor och föremål för att skapa autentiska upplevelser. Designen av utställningen och dess fysiska utformning är avgörande för interaktionen mellan besökare och föremål samt för att främja diskussioner och samtal. Digitala verktyg förstärker berättelsen och de interaktiva elementen bidrar till att besökaren uppslukas av berättelsen., The following work is a Bachelor level thesis on Media Technology aimed at understanding the possibilities of hybrid experiences within natural history and historical museums based on the experiences of design agencies and museums, as well as increasing knowledge of how an engaging hybrid experience is created. An inductive approach was used together with semi-structured interviews of two museums and two design agencies in the field of hybrid experiences. The empirical data was then analyzed using thematic analysis, identifying three main themes with respective subthemes. The thesis refers to previous research on hybrid experiences within the museum industry, focusing on exhibitions incorporating both physical and digital components, with guests physically visiting the museum. Based on the analysis and discussion of the thesis results, the conclusion was drawn that an engaging hybrid experience must include digital and physical elements, and integrate technology, design, and storytelling in a balanced manner. Technology, such as projection mapping, brings physical spaces and objects to life to create authentic experiences. The design of the exhibition and its physical layout are crucial for interaction between visitors and objects, as well as for promoting discussions and conversations. Digital tools enhance the storytelling, and interactive elements contribute to immersing the visitor in the narrative.

Despite the complexity of the video game, interest is growing by leaps and bounds due to its increasing relevance in entertainment history, but understanding of the medium is still up in the air. The aim of this study is therefore to investigate the knowledge and skill acquisition of people with little or no gaming experience (non-gamers) about the digital 3D puzzle game Portal within the framework of the Hermeneutic Spiral. Using qualitative interviews, supported by gameplay recordings and think-aloud protocols, eight non-gamers aged 21-69 reveal seven categories that determine the complexity of video game understanding and skill acquisition. Results show that skill acquisition is highly individual and depends on previous gaming experiences in terms of game literacy, the language understanding of games. As they form the basis, general expectations determine the next gaming experience which adds to the catalogue of video game understanding and influence the process of skill acquisition., Trotz der Komplexität des Videospiels wächst das Interesse aufgrund seiner zunehmenden Relevanz in der Unterhaltungsgeschichte sprunghaft an, das Verständnis für das Medium ist jedoch noch nicht gefestigt. Ziel dieser Studie ist es daher, im Rahmen der Hermeneutischen Spirale das Wissen und den Kompetenzerwerb von Menschen mit wenig oder keiner Spielerfahrung (Nicht-Spieler) über das digitale 3D-Puzzlespiel Portal zu untersuchen. Mittels qualitativer Interviews, unterstützt durch Gameplay-Aufnahmen und Think-Aloud-Protokolle, decken acht Nicht-Spieler im Alter von 21-69 Jahren sieben Kategorien auf, die die Komplexität des Videospielverständnisses und des Kompetenzerwerbs bestimmen. Die Ergebnisse zeigen, dass der Kompetenzerwerb sehr individuell ist und von früheren Spielerfahrungen im Sinne von Game Literacy, dem Sprachverständnis von Spielen, abhängt. Die allgemeine Erwartungshaltung bildet die Grundlage für das nächste Spielerlebnis, das den Katalog des Videospielverständnisses ergänzt und den Prozess des Kompetenzerwerbs beeinflusst.

Recent advancements in artificial intelligence (AI), particularly in deep learning, have significantly enhanced AI capabilities but have also led to more complex and less interpretable algorithms. This research addresses the challenge of Explainable AI (XAI) by focusing on enhancing the interpretability of AI decisions through the use of Explainable User Interfaces (XUI). The study identifies two primary knowledge gaps: the predominance of XAI research targeting technically skilled users, neglecting the end-user who often lacks technical expertise, and the insufficient exploration of user-centric design principles in real-world XUI applications. The research adopts the Design Science Research Method (DSRM) to develop an XUI tailored for the FOKUS project, which uses Electrocardiogram (ECG) data to detect myocardial infarctions. The study emphasises the strategic application of interactive design principles such as complementary naturalness, flexibility in explanation methods, and responsiveness through progressive disclosure to improve the system’s interpretability. Notably, sensitivity to context and mind, though not initially implemented, emerged as a critical design principle from the analysis and was subsequently positioned at the pinnacle of a restructured pyramid model of design principles. Key findings highlight the effectiveness of the selected design principles in enhancing interpretability and underscore the importance of involving stakeholders early in the development process to align the XAI and XUI with end-user needs. The research proposes a structured design approach framework for XUI, involving sequential phases from pre-XAI to XUI design, to systematically integrate user feedback and improve the design iteratively. The proposed framework restructured pyramid model of the design principles aim to guide future developments in XAI and XUI, enhancing their practical application and effectiveness in various contexts., Management of Technology (MoT)

The creative process in Arts shares with design its origins and development in the search for solutions that integrate both message and form. Design is meant to occupy a special place since it draws from the creativity of arts and makes a significant contribution to effective visual communication. Therefore, it can be a factor in fulfilling the needs of a society living in a two-faced reality: physical and digital interaction. Society needs to consider the structure of interaction that goes beyond using technological tools intended for human-computer interaction (HCI). In fact, it refers to the analogue world that encourages person-to-person interaction, even though it happens via digital and/or virtual means. Dealing with Fine Arts in the Mobility and User Experience group of UNIR has opened a new framework allocated to research in the field of design and develop solutions that bind together artistic processes and technological interactivity in order to provide users a meaningful communication. Through Arts, the present study aims to establish a first approach to this relation between arts and technology that applies to the forms of digital communications today., Depto. de Escultura y Formación Artística, Depto. de Dibujo y Grabado, Fac. de Bellas Artes, TRUE, pub

The health crisis brought about by Covid-19 has generated a heightened need for information as a response to a situation of uncertainty and high emotional load, in which fake news and other informative content have grown dramatically. The aim of this work is to delve into the understanding of fake news from the perspective of information behaviour by analysing a sample of fake news items that were spread in Spain during the Covid-19 health crisis. A sample of 242 fake news items was collected from the Maldita. es website and analysed according to the criteria of cognitive and affective authority, interactivity, themes and potential danger. The results point to a practical absence of indicators of cognitive authority (53.7%), while the affective authority of these news items is built through mechanisms of discrediting people, ideas or movements (40.7%) and, secondarily, the use of offensive or coarse language (17.7%) and comparison or reference to additional information sources (26.6%). Interactivity features allow commenting in 24.3% of the cases. The dominant theme is society (43.1%), followed by politics (26.4%) and science (23.6%). Finally, fake news, for the most part, does not seem to pose any danger to the health or safety of people – the harm it causes is intangible and moral. The author concludes by highlighting the importance of a culture of civic values to combat fake news, Depto. de Biblioteconomía y Documentación, Fac. de Ciencias de la Documentación, TRUE, pub

This study aims to analyze how social media advertising affects consumer purchase intentions, in Pakistan. Organizations have spent a lot of time, money, and resources on social media ads. However, there is always a challenge in how organizations can design social media advertising to successfully attract customers and motivate them to purchase their brands. This study aims to identify and test the main factors related to social media advertising. It investigates how performance expectancy influences the relationships between informativeness, perceived relevance, social media marketing, interactivity, and purchase intention. The research is grounded in the Unified Theory of Acceptance and Use of Technology (UTAUT2). The data was collected using a questionnaire survey of 350 participants. To gather data a structured questionnaire-based quantitative research approach was used. Data for this study was collected through a questionnaire and a survey was conducted from consumers of Punjab Pakistan. This research aims to give several theoretical and practical advice for marketers on how to effectively design and conduct social media advertising campaigns.

This study aims to analyze how social media advertising affects consumer purchase intentions, in Pakistan. Organizations have spent a lot of time, money, and resources on social media ads. However, there is always a challenge in how organizations can design social media advertising to successfully attract customers and motivate them to purchase their brands. This study aims to identify and test the main factors related to social media advertising. It investigates how performance expectancy influences the relationships between informativeness, perceived relevance, social media marketing, interactivity, and purchase intention. The research is grounded in the Unified Theory of Acceptance and Use of Technology (UTAUT2). The data was collected using a questionnaire survey of 350 participants. To gather data a structured questionnaire-based quantitative research approach was used. Data for this study was collected through a questionnaire and a survey was conducted from consumers of Punjab Pakistan. This research aims to give several theoretical and practical advice for marketers on how to effectively design and conduct social media advertising campaigns.

Interactivity is one of the main functionalities incorporated into digital television through its value-added services. Despite the advances that exist worldwide in this regard, only software and hardware is available in Cuba that manages and displays content in plain text, static, of little relevance and usefulness to end users. In this work the main functionalities offered by the new TVC+ technological platform proposed by the authors of this work to correct the identified problem are exposed. This platform facilitates the dynamic management of the contents that are transmitted, such as: conformation of contents from primary sources of RSS data, automatic changes of the structure and content from temporary events or actions that are carried out and the incorporation of televoting using the national telecommunications provider as a return channel. The results presented in this paper demonstrate some of these functionalities that are already included in the version of TVC+ deployed recently in the ICRT and have the endorsement of it. The architecture of the TVC+ software allows the gradual incorporation of the elements of interactivity, achieving its compatibility with current and future encoders. This aspect constitutes an important novelty that is presented in this work. The proposed solution allows the technological sovereignty of our country in this important area of knowledge with real future possibilities of exchange with other countries of the region., La interactividad es una de las funcionalidades principales incorporadas a la televisión digital a través de sus servicios de valor agregado. A pesar de los adelantos que existen a nivel mundial al respecto, en Cuba solo se dispone de software y hardware que gestiona y visualiza contenido en texto plano, estático, de poca actualidad y utilidad los usuarios finales. En este trabajo se exponen las principales funcionalidades que brinda la nueva plataforma tecnológica TVC+ propuesta por los autores de este trabajo para corregir la problemática identificada. Dicha plataforma facilita la gestión dinámica de los contenidos que se transmiten, tales como: conformación de contenidos desde fuentes primarias de datos RSS, cambios automáticos de la estructura y el contenido a partir de eventos temporales o acciones que se realicen y la incorporación de televotación utilizando el proveedor de telecomunicaciones nacional como canal de retorno. Los resultados que se presentan en este trabajo demuestran algunas de estas funcionalidades que ya están incluidas en la versión de TVC+ desplegada recientemente en el ICRT y cuentan con el aval del mismo. La arquitectura del software TVC+ permite la incorporación gradual de los elementos de interactividad logrando su compatibilidad con los codificadores actuales y futuros. Este aspecto constituye una importante novedad que se presenta en este trabajo. La solución propuesta permite la soberanía tecnológica de nuestro país en esta importante área del conocimiento con posibilidades futuras reales de intercambio con otros países de la región.

The natural world is under immense and increasing pressure caused by human activity. The adjustment from a state of declining nature to a more sustainable world requires changes of social and economic activities by individuals, societies, and the private sector. There are some initiatives to assist companies in the development of more sustainable practices in their operations and their value chains that are often complex and require dedicated communication efforts. Information graphics can be an efficient multimodal method for the communication of complex information. Adding interactivity to infographics can also promote a user’s curiosity and engagement. In this study, I produced an interactive infographic using principles of human-centred design, that helps explaining a sustainability framework with illustrated example actions that companies can take in their transformation towards sustainability in their direct operations, their value chains, and associated natural environments. The sustainability actions in the framework are categorised depending on their effect on the environment: from reducing the impacts on nature, to promoting recovery and restoration of natural environment and transforming business models and attitudes. An interactive infographic format can facilitate the understanding of these different actions by combining appealing novel images, text, and the possibility to filter information on demand. The desired effect of the infographic is to be informative, to be relevant to real-life companies, and to inspire companies to learn more about sustainability methods and start their journey towards a better future. I performed usability tests and user experience surveys to obtain qualitative data to evaluate the functioning of the artefact and its desired effects. The results suggests that the infographic is informative, relevant and succeeds in engaging users in the subject of sustainability. The results also showed that functionality is an aspect of th, Den naturliga världen är under ett enormt och ökande tryck orsakat av mänsklig aktivitet. Omställning från ett tillstånd av försämrad natur till en mer hållbar värld kräver förändringar av sociala och ekonomiska aktiviteter av individer, samhällen och den privata sektorn. Det finns några initiativ för att hjälpa företag att utveckla mer hållbara metoder i sin verksamhet och sina värdekedjor som ofta är komplexa och kräver särskilda kommunikationsinsatser. Informationsgrafik kan vara en effektiv multimodal metod för kommunikation av komplex information. Att lägga till interaktivitet till infografik kan också främja en användares nyfikenhet och engagemang. I den här studien producerade jag en interaktiv infografik med hjälp av principer för användarcentrerad design, som hjälper till att förklara ett hållbarhetsramverk med illustrerade exempel på åtgärder som företag kan vidta i sin transformation mot hållbarhet i sin direkta verksamhet, sina värdekedjor, och tillhörande naturliga miljöer. Hållbarhetsåtgärderna i ramverket kategoriseras beroende på deras effekt på miljön: från att minska påverkan på naturen, till att främja återhämtning och återställande av naturliga miljöer, och förändra affärsmodeller och attityder. Ett interaktivt infografiskt format kan underlätta förståelsen av dessa olika åtgärder genom att kombinera tilltalande bilder, text och möjligheten att filtrera information vid behov. Den önskade effekten av infografiken är att vara informativ, vara relevant för verkliga företag och att inspirera företag att lära sig mer om hållbarhetsmetoder och starta sin resa mot en bättre framtid. Jag utförde användbarhetstester och användarupplevelseundersökningar för att få kvalitativa data för att utvärdera artefaktens funktion och dess önskade effekter. Resultaten tyder på att infografiken är informativ, relevant och lyckas engagera användare i ämnet hållbarhet. Resultaten visade också att funktionalitet är en aspekt av den här typen av designartefakter som använd

Virtual reality (VR) immerses users in others’ lives, creating empathy and understanding long after the VR scenario has finished. As VR technology has matured, VR scenarios have begun to be used in complex real-world areas such as education, health and organisational change. These scenarios can be of variable technical quality, with limited interactive capacity, unrealistic environments and clunky or absent avatars. In this study, three scenarios related to gender inequality training were constructed with glitches in the core immersive qualities of presence, interactivity and plausibility in order to understand their effect on the immersive experience. Using a multi-step in-depth series of qualitative interviews to examine the whole immersive process, the results show that immersion is not compromised but changed by glitches. Limited interactivity led to uncomfortable interactions that allowed participants to process difficult emotions; implausible situations surfaced buried norms and prejudices; and avatar variation gave rise to a sense presence that also included distance, which gave the user opportunities for critical reflection. These results point towards immersion as a robust and richly textured concept, while interactivity, plausibility and presence can best be understood as dimensions rather than goals. Totally seamless and immersive experiences may not only be utopian but also unnecessary. The glitches in low-end productions can produce powerful communication without expensive technology.

Virtual reality (VR) immerses users in others’ lives, creating empathy and understanding long after the VR scenario has finished. As VR technology has matured, VR scenarios have begun to be used in complex real-world areas such as education, health and organisational change. These scenarios can be of variable technical quality, with limited interactive capacity, unrealistic environments and clunky or absent avatars. In this study, three scenarios related to gender inequality training were constructed with glitches in the core immersive qualities of presence, interactivity and plausibility in order to understand their effect on the immersive experience. Using a multi-step in-depth series of qualitative interviews to examine the whole immersive process, the results show that immersion is not compromised but changed by glitches. Limited interactivity led to uncomfortable interactions that allowed participants to process difficult emotions; implausible situations surfaced buried norms and prejudices; and avatar variation gave rise to a sense presence that also included distance, which gave the user opportunities for critical reflection. These results point towards immersion as a robust and richly textured concept, while interactivity, plausibility and presence can best be understood as dimensions rather than goals. Totally seamless and immersive experiences may not only be utopian but also unnecessary. The glitches in low-end productions can produce powerful communication without expensive technology.

The natural world is under immense and increasing pressure caused by human activity. The adjustment from a state of declining nature to a more sustainable world requires changes of social and economic activities by individuals, societies, and the private sector. There are some initiatives to assist companies in the development of more sustainable practices in their operations and their value chains that are often complex and require dedicated communication efforts. Information graphics can be an efficient multimodal method for the communication of complex information. Adding interactivity to infographics can also promote a user’s curiosity and engagement. In this study, I produced an interactive infographic using principles of human-centred design, that helps explaining a sustainability framework with illustrated example actions that companies can take in their transformation towards sustainability in their direct operations, their value chains, and associated natural environments. The sustainability actions in the framework are categorised depending on their effect on the environment: from reducing the impacts on nature, to promoting recovery and restoration of natural environment and transforming business models and attitudes. An interactive infographic format can facilitate the understanding of these different actions by combining appealing novel images, text, and the possibility to filter information on demand. The desired effect of the infographic is to be informative, to be relevant to real-life companies, and to inspire companies to learn more about sustainability methods and start their journey towards a better future. I performed usability tests and user experience surveys to obtain qualitative data to evaluate the functioning of the artefact and its desired effects. The results suggests that the infographic is informative, relevant and succeeds in engaging users in the subject of sustainability. The results also showed that functionality is an aspect of th, Den naturliga världen är under ett enormt och ökande tryck orsakat av mänsklig aktivitet. Omställning från ett tillstånd av försämrad natur till en mer hållbar värld kräver förändringar av sociala och ekonomiska aktiviteter av individer, samhällen och den privata sektorn. Det finns några initiativ för att hjälpa företag att utveckla mer hållbara metoder i sin verksamhet och sina värdekedjor som ofta är komplexa och kräver särskilda kommunikationsinsatser. Informationsgrafik kan vara en effektiv multimodal metod för kommunikation av komplex information. Att lägga till interaktivitet till infografik kan också främja en användares nyfikenhet och engagemang. I den här studien producerade jag en interaktiv infografik med hjälp av principer för användarcentrerad design, som hjälper till att förklara ett hållbarhetsramverk med illustrerade exempel på åtgärder som företag kan vidta i sin transformation mot hållbarhet i sin direkta verksamhet, sina värdekedjor, och tillhörande naturliga miljöer. Hållbarhetsåtgärderna i ramverket kategoriseras beroende på deras effekt på miljön: från att minska påverkan på naturen, till att främja återhämtning och återställande av naturliga miljöer, och förändra affärsmodeller och attityder. Ett interaktivt infografiskt format kan underlätta förståelsen av dessa olika åtgärder genom att kombinera tilltalande bilder, text och möjligheten att filtrera information vid behov. Den önskade effekten av infografiken är att vara informativ, vara relevant för verkliga företag och att inspirera företag att lära sig mer om hållbarhetsmetoder och starta sin resa mot en bättre framtid. Jag utförde användbarhetstester och användarupplevelseundersökningar för att få kvalitativa data för att utvärdera artefaktens funktion och dess önskade effekter. Resultaten tyder på att infografiken är informativ, relevant och lyckas engagera användare i ämnet hållbarhet. Resultaten visade också att funktionalitet är en aspekt av den här typen av designartefakter som använd

Dagens samhälle blir mer digitaliserat för varje år som går och skolan följer den utvecklingen; därmed ökar digitaliseringen och användandet av digitala läromedel även i skolan. Därför är undersökningen relevant för den nutida skolans utveckling. Digitala läromedel är något som används frekvent i matematikundervisning, vilket är något vi har observe- rat under våra VFU-perioder. Dessutom uppmärksammade vi att många yrkesverksamma lärare är mindre insatta i innehållet i digitala läromedel, till skillnad från innehållet i de analoga läromedlen som används. Vi såg att det fanns studier kring digitala läromedel, men att det verkade vara brist på studier med fokus på hur algebra behandlas i elevuppgifter i digitala läromedel. Matematikområdet algebra är i sig ett område där tidigare forskning lyfter behovet av vidare forskning. Därav valde vi att specificera vår undersökning om hur algebra behandlas i elevuppgifter i digitala läromedel. Analysen i undersökningen grundar sig i ett analysschema med kategorier och kriterier utformade efter teorier från Sjödén (2014), Choppin m.fl. (2014), Blanton m.fl. (2015) samt Madej (2021). Teorierna har hjälpt oss att analysera det digitala och algebraiska innehållet i elevuppgifterna och Blantons m.fl. (2015) Big ideas framhäver väsentliga delar av algebraundervisning. Syftet med undersökningen är att belysa vilka potentiella mervärden som skapas genom olika digitala läro- medel inom området algebra för årskurs 6. Det görs genom insamling av data för en kvantitativ innehålls- analys av elevuppgifter innehållande algebra i tre digitala läromedel som används i grundskolan. Valet av läromedel gjordes utifrån vilka digitala läromedel vi har sett används av yrkesverksamma lärare i mellan- stadiet. Resultatet som kan utläsas av analysen är att digitala läromedel erbjuder olika möjligheter som inte erbjuds i analoga läromedel, samt att det algebraiska innehållet var, Today's society is becoming more digitized every year and school follows that evolution; therefore the digitization and the use of digital curriculum materials increases in school as well. This study is relevant for today’s school development. Digital curriculum materials are frequently used in mathematics teaching, which we have noticed during our work-based education (VFU). We also noticed that teachers have less insight about the digital curricu- lum materials than in the books that are used. We found studies about digital curriculum materials, but there seemed to be a lack of research with focus on how algebra is processed in pupil tasks in digital curriculum materials. The mathematical field of algebra is an area where previous research requires further research. Hence, we chose to specify our investigation about how algebra is processed in pupil tasks in digital cur- riculum materials. The analysis in our inquiry is based on an analysis schedule with categories and criteria designed from theories from Sjödén (2014), Choppin et.al. (2014), Blanton et.al. (2015) and Madej (2021). The theories were helpful when we analyzed the digital and algebraic content in the pupil tasks and Blantons et.al. (2015) Big ideas highlights essential parts concerning algebra teaching. The study aims to highlight potential values created through various digital curriculum materials in the area of algebra for grade 6. It is done by collecting data for a content analysis of pupil tasks containing algebra in three digital curriculum materials used in primary school. The choice of resources was made based on which digital curriculum materials we have seen been used by professional teachers in middle school. The result that can be deduced from the analysis is that digital curriculum materials offer different potential values that are not offered in analog curriculum materials, and that the algebraic content where digital values occur varies depending on the digital curriculum materials

This paper introduces low-interactivity games as a new term to refer to games that provide players with very limited interaction by design. A grounded theory approach is conducted for this research, with reviewing literature and analyzing games specifically under the categories of casual games, idle games, walking simulators and minimalist games, in order to identify the available types of interactions in low-interactivity games. The design implications of games in this field are also investigated, indicating that low-interactivity games can be designed for companionship and awareness due to their core feature of supporting in-game inaction of the player. The design solutions and values of low-interactivity games are also discussed to argue for a responsible attitude towards the design of games in this space. The proposed term provides starting points for future research and development of low-interactivity games.

The purpose of this thesis is to find out how interactive level design directly impactsplayers’ experience of immersion. This was done by researching different perspectives andtheories for immersion and interactivity while using Genshin Impact as an example. For thisstudy, interactive level design means a piece of environment that reacts to a player’s input.This research is important as there is a gap in the research, as while there are existing theoriesfor interactivity, immersion, and level design independently, there is little existing researchlinking them together. Additionally, this thesis is important for future level design, as it willaid in making more interactive and immersive levels for games. The method of this thesisrelied on answers from 2 qualitative and quantitative surveys and 5 semi-structuredinterviews. The data gathered from the surveys and interviews were then separately analyzed.The results indicate that interactive level design indeed has an influence that heightensplayers’ experience of immersion.

The learning of Pharmaceutical Technology encompasses a series of knowledge that includes both the properties of the drug and those of each of the excipients that are part of a pharmaceutical composition. Remembering and associating the functions they provide, which can also vary depending on the pharmaceutical form in which they are used, often constitutes a highly challenging task for students. In order to promote a correct and more enjoyable learning experience, a series of interactive games were implemented during the Pharmaceutical Technology seminars, through which students could learn and memorize the functions of the excipients that compose the pharmaceutical forms under study. Once the activities were completed, the results were evaluated based on the pass rate of the students, their grades, and the students' reception of the initiative. Specifically, a percentage of 97.23% of students passed the pre-final seminar exam, and this percentage increased to 100% after the final exam, with a great acceptance of the activities by the students. Based on these results, implementing gamification could be considered a dynamic and interactive strategy of high effectiveness in facilitating the learning of the large number of relevant excipients in the study of Pharmaceutical Technology., El aprendizaje de la Tecnología Farmacéutica engloba una serie de conocimientos, que abarca tanto las propiedades del fármaco como las de cada uno de los excipientes que forman parte de un medicamento. Recordar y asociar las funciones que estos presentan, que además pueden variar en función de la forma farmacéutica en la que se utilicen, suele constituir una tarea de alta dificultad para los estudiantes. Para favorecer un aprendizaje correcto de una forma más amena y dinámica, en el contexto de los seminarios de la asignatura de Tecnología Farmacéutica, se pusieron en práctica una serie de juegos interactivos a partir de los cuáles los estudiantes aprendiesen y memorizasen las funciones de los excipientes que componen las formas farmacéuticas de estudio. Una vez finalizadas las actividades, se evaluaron los resultados en función del índice de aprobados de los alumnos, las calificaciones y el acogimiento de la iniciativa por parte de los estudiantes. Concretamente, se consiguió un porcentaje de alumnos que aprobaron el examen prefinal de seminarios del 97.23% y un 100% tras el examen final, con gran aceptación de las actividades por parte del alumnado. En base a ello, podría considerarse la gamificación como una estrategia dinámica e interactiva de alta efectividad para facilitar el aprendizaje del alto número de excipientes de relevancia en el estudio de la Tecnología Farmacéutica.

Interpassivity is the inverse structure of interactivity and has been analyzed as cultural behavior by the philosophers Robert Pfaller and Slavoj Zizek. Interpassivity is delegated passivity, one is passive through the other while doing something actively, which allows one to avoid identification and subjectivation. Could we talk about interpassive art? What links would be established between interpassive art and interactive art? What would be its characteristics and conditions? A translation of the concept of interpassivity is proposed from the field of philosophy towards the space of the art reception, an original contribution of this research. A methodology based on comparative literature has been used, applying exegesis (interactivity-interpassivity) and eisegesis (interpassive art) as methods. It is concluded that all art is interactive and that interactivity as a false activity in the work of art acts as a substitute ritual act for the spectator. The fundamental paradox resides in the fact that interactivity, by diluting the distance and dissent in the art reception, becomes an interpassive medium that hinders the processes of subjectivation typical of the aesthetic experience. Interactivity allows an interpassive art. What today is called interactive art is truly an interpassive art., La interpasividad es la estructura inversa de la interactividad y ha sido analizada como comportamiento cultural por los filósofos Robert Pfaller y Slavoj Zizek. La interpasividad es pasividad delegada, se es pasivo por medio del otro mientras se hace algo de forma activa, lo que permite esquivar la identificación y la subjetivación. ¿Podríamos hablar de arte interpasivo? ¿Qué vínculos establecería con el arte interactivo? ¿Cuáles serían sus características y condiciones? Se plantea una traslación del concepto de interpasividad desde el campo de la filosofía hacia el espacio de la recepción del arte, aporte original de esta investigación. Se ha empleado una metodología basada en la literatura comparada, aplicando la exégesis (interactividad-interpasividad) y la eiségesis (arte interpasivo) como métodos. Se concluye que todo arte es interactivo y que la interactividad como falsa actividad en la obra de arte ejerce como acto ritual sustitutivo para el espectador. La paradoja fundamental reside en que la interactividad, al diluir la distancia y el disenso en la recepción del arte, se convierte en un medio interpasivo que dificulta los procesos de subjetivación propios de la experiencia estética. La interactividad permite un arte interpasivo. Lo que hoy se denomina arte interactivo es verdaderamente un arte interpasivo.

Antena 3 es una de las cadenas de televisión más importantes en España y es la cadena española pionera en la apuesta por las nuevas tecnologías. Por ello, es de interés analizar su web para determinar su oferta de contenidos y las herramientas utilizadas para interactuar con sus públicos identificando, además, el uso que hace de las redes sociales. Con este objetivo, se realiza un análisis cualitativo del sitio web centrado en analizar veintiuna variables focalizadas en los campos descritos (contenidos, interactividad y redes sociales). Estas han sido establecidas a partir de la combinación de parámetros formulados en la propuesta de análisis de webs de televisión de Codina, Aubia y Sánchez (2008) y los indicadores de interacción descritos por Rodríguez-Martínez, Codina y Pedraza-Jiménez (2012). Gracias a ellas, es posible determinar la carencia de Antena3 en la gestión de sus perfiles sociales y en la interactividad generada mediante la comunidad virtual que conforma a través de su espacio web. No obstante, estas variables también justifican cómo, a pesar de esto, antena3.com es un espacio en el que la cadena pone a disposición del usuario una completa y bien organizada oferta de contenidos apostando así, por la difusión de estos a través de Internet., One of the most important television channel in Spain is Antena 3. Furthermore, it is a pioneer developing new technologies. Thus, it is interesting to research its website to determine its content offering and the tools used to interact with its audience, identifying the use of social networks too. To this end, we conduct a qualitative analysis of the web site. It consists in the examination of twenty-one variables focused on the fields described (content, interactivity and social networks). These variables are established through the parameters formulated in the proposed analysis of television websites by Codina, Aubia and Sanchez (2008). These are also determined based on the indicators of interaction described by RodríguezMartínez, Codina and Pedraza-Jimenez (2012). Thereby, it is possible to identify a lack of communication between Antena 3 social profiles and its followers. Also, there is an absence of interactivity in the virtual community within its web space. Despite this, these variables also justify that antena3.com is a space which offers the user a complete and well organized content., Fac. de Ciencias de la Información, TRUE, pub

Los comentarios de los usuarios en los medios digitales contienen con frecuencia alusiones incívicas, que se han incrementado por la polarización política y las crisis sanitaria y económica provocadas por la Covid 19. Se sabe poco sobre cómo los periodistas encargados de moderar estos foros se enfrentan a esta situación y cuál es su punto de vista acerca de los mismos y de su importancia en el debate democrático. Se han realizado doce entrevistas abiertas de tipo semiestructurado a estos responsables de la prensa digital española: generalista, regional y deportiva. Se analizan estos materiales para valorar las fortalezas y las debilidades de los sistemas de moderación de los discursos de odio que afloran en los comentarios de los lectores. Los resultados muestran que la introducción de la suscripción en la mayoría de los periódicos digitales ha reducido la presencia de comentarios con odio, aunque no han desaparecido. Los sistemas empleados para controlar estos comentarios filtran básicamente insultos y palabras soeces. Los entrevistados coinciden en señalar que una parte muy importante de los comentarios de odio se produce en la sección de política. El racismo, la xenofobia, la misoginia y la homofobia se citan como los temas más recurrentes en estos discursos. Algunos periodistas plantean la eliminación de la participación de los usuarios. Otros ven ventajas desde el punto de vista del negocio y proponen desde crear equipos especializados para ejercer la moderación, controlar a los autores a través del historial de sus actividades o sencillamente educarles para intervenir en foros democráticos. Estos resultados muestran que el debate sobre los sistemas de moderación permanece abierto entre los profesionales., User discussions on digital media usually include offensive comments. This kind of content has become more frequent and intense because of political polarization and the health and economic crises associated with Covid-19. Little is known about the journalists who moderate these forums, how they approach this task in such difficult circumstances, and their opinion about their role in the democratic public debate. To improve understanding of this phenomenon, we carried out 12 semistructured open interviews with moderators from several types of Spanish digital newspapers: generalist, local, and sports. The aim was to ascertain the strengths and weaknesses of moderation filters against hate speech in readers’ comments. The results show that the introduction of paywalls in many Spanish newspapers has reduced the intensity of such hate speech, although it has not completely disappeared. These moderation systems are limited mainly to ruling out insults and swearing. There is consensus among the interviewed journalists that most hate speech comments relate to political news. The most frequent topics are racism, xenophobia, misogyny, and homophobia. Several journalists presented the banning of offending users as a possible solution. However, others see this as a business opportunity and proposed solutions ranging from creating specialized moderators to controlling the activity history or trying to educate those users how to participate in a democratic forum. This research contributes to the ongoing debate about moderation systems among media professionals., Ministerio de Economía y Competitividad (MINECO), Fac. de Ciencias de la Información, TRUE, pub

This research attempts to contribute to the area of oral interactions in online classes during the COVID-19 pandemic in Chile. Specifically, the sample considers two teachers and 85 students in two sixth-grade classes. The analysis was carried out on two levels. The first includes the codification of turns of speaking, according to the system adapted by Howe et al. The second level uses classroom observation in addition to triangulation with interviews held with the two teachers. The analysis reveals that online teaching implies important changes in the form of the class, yet the types of oral interactions are similar to those reported in face-to-face classes. The implications are discussed in the results, La presente investigación busca aportar en el área de interacciones de habla en la sala de clases en línea durante la pandemia de COVID-19 en Chile. En específico, la muestra considera dos profesoras y 85 estudiantes distribuidas(os) en dos cursos de sexto básico. El análisis se realizó en dos niveles. El primero incluye la codificación de turnos de habla, siguiendo el esquema adaptado de Howe y colaboradores, mientras que el segundo utiliza una pauta de observación de las clases además de la triangulación con entrevistas a ambas profesoras. El análisis revela que la modalidad en línea implica cambios importantes en la forma de la clase, no obstante, los tipos de interacciones orales son similares a los reportados en clases presenciales. Sus implicancias son discutidas en los resultados.

El aprendizaje de la Tecnología Farmacéutica engloba una serie de conocimientos, que abarca tanto las propiedades del fármaco como las de cada uno de los excipientes que forman parte de un medicamento. Recordar y asociar las funciones que estos presentan, que además pueden variar en función de la forma farmacéutica en la que se utilicen, suele constituir una tarea de alta dificultad para los estudiantes. Para favorecer un aprendizaje correcto de una forma más amena y dinámica, en el contexto de los seminarios de la asignatura de Tecnología Farmacéutica, se pusieron en práctica una serie de juegos interactivos a partir de los cuáles los estudiantes aprendiesen y memorizasen las funciones de los excipientes que componen las formas farmacéuticas de estudio. Una vez finalizadas las actividades, se evaluaron los resultados en función del índice de aprobados de los alumnos, las calificaciones y el acogimiento de la iniciativa por parte de los estudiantes. Concretamente, se consiguió un porcentaje de alumnos que aprobaron el examen prefinal de seminarios del 97.23% y un 100% tras el examen final, con gran aceptación de las actividades por parte del alumnado. En base a ello, podría considerarse la gamificación como una estrategia dinámica e interactiva de alta efectividad para facilitar el aprendizaje del alto número de excipientes de relevancia en el estudio de la Tecnología Farmacéutica., The learning of Pharmaceutical Technology encompasses a series of knowledge that includes both the properties of the drug and those of each of the excipients that are part of a pharmaceutical composition. Remembering and associating the functions they provide, which can also vary depending on the pharmaceutical form in which they are used, often constitutes a highly challenging task for students. In order to promote a correct and more enjoyable learning experience, a series of interactive games were implemented during the Pharmaceutical Technology seminars, through which students could learn and memorize the functions of the excipients that compose the pharmaceutical forms under study. Once the activities were completed, the results were evaluated based on the pass rate of the students, their grades, and the students' reception of the initiative. Specifically, a percentage of 97.23% of students passed the pre-final seminar exam, and this percentage increased to 100% after the final exam, with a great acceptance of the activities by the students. Based on these results, implementing gamification could be considered a dynamic and interactive strategy of high effectiveness in facilitating the learning of the large number of relevant excipients in the study of Pharmaceutical Technology.

This article reflects on the resurgence of Full Motion Video (FMV) games, focusing on Her Story (2015), The Infectious Madness of Dr Dekker (2017), Telling Lies (2019), Contradiction (2015), and The Shapeshifting Detective (2018). Such titles have been derided for their lack of interactivity, and indeed afford the player limited agency in terms of concrete actions. They rely on the player's imagination in suturing the images together and in forming an empathetic understanding of the main characters’ actions and motivations. By virtue of this lack, FMV games challenges players’ analytical and hermeneutic abilities and further cognitive patience. An absence of “rules of notice” by which the details in a narrative are hierarchically organized, including editing and other attention-guiding devices, is part of these games’ procedural rhetoric. Priming the player to obtain a vigilant player attitude, such games foreground the mechanics dis/trust in our reception of fictional narrative.

The collection of data on the levels of temperature, relative humidity and carbon dioxide (CO2) in the classrooms of the UPC can help to understand their air quality. The objective of this Final Degree Project is to develop an interactive tool, within the field of Information Visualization, to carry out multiple analyzes at a visual level from different points of view of all these collected data and facilitate their understanding to those who use the application and, thus, give rise to decision-making that can improve day-to-day life at the university., La recopilació de dades dels nivells de temperatura, humitat relativa i diòxid de carboni (CO2) a les aules de la UPC pot ajudar a comprendre la seva qualitat de l'aire. L'objectiu d'aquest Treball de Fi de Grau passa per desenvolupar una eina interactiva, dins el camp de la Visualització de la Informació, per tal de fer múltiples anàlisis a nivell visual des de diferents punts de vista de totes aquestes dades recopilades i facilitar la comprensió de les mateixes a qui utilitzi l'aplicació, ajudant així a la presa de decisions de millora en el dia a dia de la universitat.

O presente artigo discorre sobre as potencialidades do Col@b Formacional com as culturas digitais na formação docente, um dispositivo (co)criado em interatividade e colaboração entre professores da educação básica. Esse dispositivo faz parte de uma pesquisa de doutorado fundamentada, metodologicamente, na pesquisa-formação, na qual pesquisador e sujeitos participam implicados com seus espaçostempos. Realizada em uma escola da rede pública municipal, estiveram envolvidos 16 professores de Língua Portuguesa, tendo os app-diários de itinerância e as com-versações mediadas como dispositivos de produção de dados. A análise dos achados seguiu a perspectiva das noções subsunçoras. Os resultados revelam que a) a formação docente em ato promove processos de mudança e imersão com suas próprias demandas; e b) os processos reflexivos na tessitura dos fazeressaberes reverberam em (co)criação e autorias docentes, ambas contribuindo para a apropriação de práticas plurais e não lineares de ensino com as tecnologias digitais., This article discusses the potential of Col@b Formacional with digital cultures in teacher education, a device (co)created in interactivity and collaboration between basic education teachers. This device is part of a doctoral research based, methodologically, on research-formation, in which researcher and subjects participate involved with their spaces-times. Conducted in a municipal public school, 16 Portuguese language teachers were involved, with itinerancy app-diaries and mediated conversations as data production devices. The analysis of the findings followed the perspective of subsuming notions. The results reveal that a) teacher education in act promotes processes of change and immersion with its own demands; and b) the reflective processes in the weaving of making-knowledge reverberate in (co)creation and teacher authorship, both contributing to the appropriation of plural and non-linear teaching practices with digital technologies., Este artículo discute el potencial del Col@b Formacional con culturas digitales en la formación de profesores, un dispositivo (co)creado en interactividad y colaboración entre profesores de educación básica. Este dispositivo forma parte de una pesquisa doctoral metodológicamente basada en la pesquisa-formación, en la cual investigador y sujetos participan involucrados con sus espacios-tiempos. Se llevó a cabo en una escuela pública municipal e involucró a 16 profesores de lengua portuguesa, con app-diarios itinerantes y conversaciones mediadas como dispositivos de producción de datos. El análisis de los resultados siguió la perspectiva de la subsunción de nociones. Los resultados revelan que a) la formación docente en acto promueve procesos de cambio e inmersión con exigencias propias; y b) los procesos reflexivos en el tejido del hacer-conocimiento reverberan en (co)creación y autoría docente, contribuyendo ambos a la apropiación de prácticas de enseñanza plurales y no lineales con tecnologías digitales.

O presente artigo discorre sobre as potencialidades do Col@b Formacional com as culturas digitais na formação docente, um dispositivo (co)criado em interatividade e colaboração entre professores da educação básica. Esse dispositivo faz parte de uma pesquisa de doutorado fundamentada, metodologicamente, na pesquisa-formação, na qual pesquisador e sujeitos participam implicados com seus espaçostempos. Realizada em uma escola da rede pública municipal, estiveram envolvidos 16 professores de Língua Portuguesa, tendo os app-diários de itinerância e as com-versações mediadas como dispositivos de produção de dados. A análise dos achados seguiu a perspectiva das noções subsunçoras. Os resultados revelam que a) a formação docente em ato promove processos de mudança e imersão com suas próprias demandas; e b) os processos reflexivos na tessitura dos fazeressaberes reverberam em (co)criação e autorias docentes, ambas contribuindo para a apropriação de práticas plurais e não lineares de ensino com as tecnologias digitais., This article discusses the potential of Col@b Formacional with digital cultures in teacher education, a device (co)created in interactivity and collaboration between basic education teachers. This device is part of a doctoral research based, methodologically, on research-formation, in which researcher and subjects participate involved with their spaces-times. Conducted in a municipal public school, 16 Portuguese language teachers were involved, with itinerancy app-diaries and mediated conversations as data production devices. The analysis of the findings followed the perspective of subsuming notions. The results reveal that a) teacher education in act promotes processes of change and immersion with its own demands; and b) the reflective processes in the weaving of making-knowledge reverberate in (co)creation and teacher authorship, both contributing to the appropriation of plural and non-linear teaching practices with digital technologies., Este artículo discute el potencial del Col@b Formacional con culturas digitales en la formación de profesores, un dispositivo (co)creado en interactividad y colaboración entre profesores de educación básica. Este dispositivo forma parte de una pesquisa doctoral metodológicamente basada en la pesquisa-formación, en la cual investigador y sujetos participan involucrados con sus espacios-tiempos. Se llevó a cabo en una escuela pública municipal e involucró a 16 profesores de lengua portuguesa, con app-diarios itinerantes y conversaciones mediadas como dispositivos de producción de datos. El análisis de los resultados siguió la perspectiva de la subsunción de nociones. Los resultados revelan que a) la formación docente en acto promueve procesos de cambio e inmersión con exigencias propias; y b) los procesos reflexivos en el tejido del hacer-conocimiento reverberan en (co)creación y autoría docente, contribuyendo ambos a la apropiación de prácticas de enseñanza plurales y no lineales con tecnologías digitales.