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Attack of the Fake Geek Girls: Challenging Gendered Harassment and Marginalization in Online Spaces applies feminist, gender, and rhetorical theories and methods, along with critical discourse analysis, to case studies of the popular online social media platforms of Jezebel, Pinterest, and Facebook. This project makes visible the structural inequities that

Attack of the Fake Geek Girls: Challenging Gendered Harassment and Marginalization in Online Spaces applies feminist, gender, and rhetorical theories and methods, along with critical discourse analysis, to case studies of the popular online social media platforms of Jezebel, Pinterest, and Facebook. This project makes visible the structural inequities that underpin the design and development of internet technologies, as well as commonplace assumptions about who is an online user, who is an active maker of internet technologies, and who is a passive consumer of internet technologies. Applying these critical lenses to these inequities and assumptions enables a re-seeing of commonplace understandings of the relationship between gender performativity and digital cultures and practices. Together, these lenses provide a useful set of tools for methodically resisting the mystique of technologies that are, simultaneously, represented as so highly technical as to be opaque to scrutiny, and as ubiquitous to everyday life as to be beneath critical examination.

Through a close reading of the discourses surrounding these popular social media platforms and a rhetorical analysis of their technological affordances, I documented the transference of gender-biased assumptions about women's roles, interests, and competencies, which have historically been found in face-to-face contexts, to these digital spaces. For example, cultural assumptions about the frivolity of women's interests, endeavors, issues, and labors make their way into digital discourse that situates the online practices of women as those of passive consumers who use the internet only to shop and socialize, rather than to go about the serious, masculine business of making original digital content.

This project expands on existing digital identity and performativity research, while applying a sorely needed feminist critique to online discourses and discursive practices that assume maleness and masculinity as the default positionality. These methods are one approach to addressing the pressing problems of online harassment, the gender gap in the technology sector, and the gender gap in digital literacies that have pedagogical, political, and structural implications for the classroom, workplace, economic markets, and civic sphere.
ContributorsTekobbe, Cindy (Author) / Miller, Keith D. (Thesis advisor) / Rose, Shirley K. (Committee member) / Boyd, Patricia (Committee member) / Arizona State University (Publisher)
Created2015
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Among researchers, educators, and other stakeholders in literacy education, there has been a growing emphasis on developing literacy pedagogies that are more responsive to the ways young people experience literacy in their everyday lives, which often make use of digital media and other technologies for exchanging meaning. This dissertation project

Among researchers, educators, and other stakeholders in literacy education, there has been a growing emphasis on developing literacy pedagogies that are more responsive to the ways young people experience literacy in their everyday lives, which often make use of digital media and other technologies for exchanging meaning. This dissertation project sought to explore the nature of these digital-age literacies in the context of children learning through and about new technologies. Conducting a year-long, multimethod observational study of an out-of-school library-based program designed to engage students in self-directed learning around the domain of computer programming, this project was framed around an analysis of digital-age literacies in design, discourse, and practice. To address each of these areas, the project developed a methodology grounded in interpretive, naturalistic, and participant-observation methodologies in collaboration with a local library Code Club in a metropolitan area of the Southwestern U.S between September 2016 and December 2017. Participants in the project included a total of 47 students aged 8-14, 3 librarians, and 3 parents. Data sources for the project included (1) artifactual data, such as the designed interfaces of the online platforms students regularly engaged with, (2) observational data such as protocol-based field notes taken during and after each Code Club meeting, and (3) interview data, collected during qualitative interviews with students, parents, and library facilitators outside the program. These data sources were analyzed through a multi-method interpretive framework, including the multimodal analysis of digital artifacts, qualitative coding, and discourse analysis. The findings of the project illustrate the multidimensional nature of digital-age literacy experiences as they are rendered “on the screen” at the content level, “behind the screen” at the procedural level, and “beyond the screen” at the contextual level. The project contributes to the literature on literacy education by taking an multi-method, interdisciplinary approach to expand analytical perspectives on digital media and literacy in a digital age, while also providing an empirical account of this approach in a community-embedded context of implementation.
ContributorsAguilera, Earl (Author) / Gee, Elisabeth R (Thesis advisor) / Gee, James P (Committee member) / Serafini, Frank (Committee member) / Arizona State University (Publisher)
Created2018
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Abstract

My thesis aims to uncover the ultimate strategy behind short form visual stories, otherwise known as the digital advertisment. In this thesis, I analyze traditional storytelling, visual storytelling, and short-form visual storytelling in order to uncover the best practices advertisers should use when crafting a digital advertisement. 

Storytelling “reveals elements and

Abstract

My thesis aims to uncover the ultimate strategy behind short form visual stories, otherwise known as the digital advertisment. In this thesis, I analyze traditional storytelling, visual storytelling, and short-form visual storytelling in order to uncover the best practices advertisers should use when crafting a digital advertisement. 

Storytelling “reveals elements and images of a story while also catalyzing the imagination of the listener” (National Storytelling Network, 2017).  This tradition has two purposes for society: a neurological structure, and a social mechanism (for historic preservation, human interaction, and a vehicle for connecting with others) (Gottshcall, 2012; Scott, 2012; Paul, 2012; Woodside, 2008). 

Visual Storytelling is “using photography, illustration, video, (usually with a musical enhancement) to guide” the human brain along a plotline, and has an unlimited timeframe (Ron, 2017). There are seven key elements to effective visual storytelling: A listener/audience, an element of realism coupled with escapism, a focus on the dread of life, an element of the unknown, emotion, simplicity, and a three-part plot structure (Andrews, 2010; ProQuest, 2012; Zak, 2014; Stanton, 2014; Reagan, 2016; Jarvis, 2014; Petrick, 2014)

In the words of Sholmi Ron, from a marketing perspective, “Visual [short hand] Storytelling is a marketing strategy that communicates powerful ideas through a compelling story arc, with your customer at the heart of the story, and delivered through interactive and immersive visual media – in order to create profitable customer engagements" (Ron, 2017). This advertising strategy has four best practices: non-obvious logo placement, a comedic emotion, multiple emotional arcs, and a relevant message (Golan, 2017; Teixeira, 2015; Graves, 2017, Teixeira, 2017). These are important to understand because, in 2017, online consumers can be described as skeptical, conscious of content, individualistic, and drawn to authenticity (Teixeira, 2014). 

To supplement my findings, I conducted primary research by analyzing the 2017 Super Bowl videos against a criteria created using the best practices previously identified (in Part 1 and Part 2). Through the data collection of the 66 videos, I uncovered the most popular plotline is "fall than rise," the most popular emotions are humor, inspiration, and empathy and people tend to have a preference towards videos that are more realistic and simplistic in nature. 

In the end, I recommend that advertisers identify an authentic yet relevant message, while employing a comedic, inspirational, or empathic tone, and that they place their ads exclusively for their target market. Additionally, producers should use a fall then rise plotline (with multiple mini plot peaks and valleys), a "logo-pulsing" strategy, and a minimal amount of characters and settings to keep the audience's focus on the ad’s message.
ContributorsBosmeny, Mackenzie Lauren (Author) / Ostrom, Amy (Thesis director) / Montoya, Detra (Committee member) / Department of Marketing (Contributor) / W. P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
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The vast research in advertising discourse has extensively explored commercials on traditional media such as TV and printed magazines. However, less is known about the advertising discourse on social media platforms, especially across these platforms internationally. The social contemporary phenomenon of advertising via social media platforms is increasing rapidly because

The vast research in advertising discourse has extensively explored commercials on traditional media such as TV and printed magazines. However, less is known about the advertising discourse on social media platforms, especially across these platforms internationally. The social contemporary phenomenon of advertising via social media platforms is increasing rapidly because of their popularity among millions of users in Saudi Arabia. This dissertation represents a first attempt to cover the existing gap in previous research in terms of media platforms and international scope. It examines advertising discourse by three Saudi female social media influencers on Snapchat. The study uses mixed methods in data collection and analysis. The data include a survey identifying three outstanding media influencers in terms of their popularity and self-presentation as well as a total of 33 advertisements. The analytical framework employs Critical Discourse Analysis following Fairclough’s three-dimensional framework. It also draws upon multimodality analysis and identity construction analysis. Findings reveal noteworthy similarities and differences among the influencers’ advertisements including linguistic features, visual aspects, and identity representation. The influencers all construct a powerful relationship with their audiences which is reflected in their informal spoken and written texts through the frequent use of Arabic pronouns (e.g., we, you, and yours) and address terms like “girls”. The results further show that the influencers display power through using different discursive strategies to persuade the audience of the value of advertised products. This dissertation’s new insights contribute in important ways to the field of advertising discourse. The researcher claims that these new findings demonstrate the value of research associated with advertising through different social media platforms in their global context. Thus, future studies should examine commercials on online media by individuals regardless of their nationality with access to the media and the skills needed to create a product line and an audience moved by their promotion styles.
ContributorsBanjar, Halah (Author) / Adams, Karen L. (Thesis advisor) / James, Mark A. (Committee member) / Ali, Souad T. (Committee member) / Arizona State University (Publisher)
Created2023
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This dissertation investigates a subtle yet complex contemporary issue of colorism in India that traces its ideological roots back in the British colonial period or even prior to that. It focuses on the issue of skin-color discrimination in urban Indian men, which is significantly under-researched. This project aims at investigating

This dissertation investigates a subtle yet complex contemporary issue of colorism in India that traces its ideological roots back in the British colonial period or even prior to that. It focuses on the issue of skin-color discrimination in urban Indian men, which is significantly under-researched. This project aims at investigating the issue of skin-color discrimination through analyzing a small corpus of thirteen YouTube commercials dating from 2005 to 2017 for men’s skin-lightening products of a popular skin-care brand called “Fair and Handsome” from a multimodal critical discourse analytic perspective. This study further aims to understand how the discourse of colorism is operating in these Indian commercials for men’s skin-lightening products, what kinds of semiotic and socio-cultural (discourse) elements are naturalizing the notion of “fairness,” and finally, how the construction of male gender is facilitated. Although the project’s main theoretical arc is critical discourse analysis (CDA), the methodological needs necessarily require drawing upon theoretical tools from advertisement analysis, multimodal analysis, gender studies, social psychology, history, cultural anthropology, race theory, and other related fields of study. After successfully facilitating an exhaustive analytical undertaking, this dissertation contributes to the understanding of colorism as more than intra-group racism in India and situates this perpetuating issue as a contemporary research target in the socio-cultural contexts of globalization and urbanization.
ContributorsMukherjee, Sayantan (Author) / Adams, Karen L. (Thesis advisor) / Gelderen, Elly van (Committee member) / James, Mark A. (Committee member) / Arizona State University (Publisher)
Created2019
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Description
The current push towards integrating new digital fabrication techniques into all parts of daily life has raised concerns about the changing role of the craftsperson in creative making. The goal of this dissertation is to gain insight into how new technologies can be incorporated into creative practices in a way

The current push towards integrating new digital fabrication techniques into all parts of daily life has raised concerns about the changing role of the craftsperson in creative making. The goal of this dissertation is to gain insight into how new technologies can be incorporated into creative practices in a way that effectively supports the goals and workflows of practitioners. To do so, I explore three different cases in which 3D printing, a tool by which complex 3D objects are fabricated from digital designs, is used in tandem with traditional creative practices. Each project focuses on a different way to incorporate 3D printed objects, whether it be as a visualization for artists’ processes, a substitute medium for finished artworks, or as a step toward a larger fabrication workflow. Through this research, I discover how the integration of 3D printing affects creative processes, explore how these changes influence how and why practitioners engage in artistic practices, and gain insight into directions for future technological innovations.
ContributorsWeiler, Jennifer Joyce (Author) / Ingalls, Todd (Thesis advisor) / Kuznetsov, Stacey (Thesis advisor) / Neubauer, Mary B (Committee member) / Nam, Hye Y (Committee member) / Arizona State University (Publisher)
Created2020
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People express themselves differently on social media than in physical life. Some seem as if they were a different person on social media than offline. However, little research has tested whether the perceived similarity between offline and social media contexts is linked to psychological well-being. Whether people perceive themselves as

People express themselves differently on social media than in physical life. Some seem as if they were a different person on social media than offline. However, little research has tested whether the perceived similarity between offline and social media contexts is linked to psychological well-being. Whether people perceive themselves as similar between offline and social media contexts may contribute to understanding the links between social media use and psychological well-being. This dissertation addresses whether people perceive themselves as the same on social media as offline (Studies 1 and 2), whether this perceived similarity is linked to psychological well-being (Study 2), and the potential role of generation (Study 2)—focusing on comparisons between digital “natives” (Generation Z) and “immigrants” (Baby Boomers) who show different patterns of social media use. Across two studies of college student and online samples, participants completed measures of the Big Five personality traits specified for offline and social media contexts. Study 2 participants further completed measures of psychological well-being (e.g., depression, life satisfaction, self-esteem) and submitted records of their logged mobile phone use. Findings showed that across generations, people tend to view themselves as similar between offline and social media contexts but not the same in terms of their personality traits. Boomers actually perceived themselves as more similar between offline and social media than Gen Z, even when controlling for logged mobile phone use. Perceived similarity between offline and social media selves was not linked positively to psychological well-being (and there were small generation differences whereby the link appeared to be more negative in Gen Z relative to Boomers). The expectation that perceived similarity between offline and social media should be linked to positive outcomes in terms of psychological well-being may not apply to the context of social media, particularly for Gen Z. Studying psychology in offline and social media contexts separately and jointly will be important to understand the social well-being of the emerging digital world.
ContributorsBunker, Cameron (Author) / Kwan, Virginia (Thesis advisor) / Varnum, Michael (Committee member) / Kenrick, Douglas (Committee member) / Ha, Thao (Committee member) / Arizona State University (Publisher)
Created2023
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In 1946 Felix Bloch first demonstrated the phenomenon of nuclear magnetic resonance using continuous-wave signal generation and acquisition. Shortly after in 1966, Richard R. Ernst demonstrated the breakthrough that nuclear magnetic resonance needed to develop into magnetic resonance imaging: the application of Fourier transforms for sensitive pulsed imaging. Upon this

In 1946 Felix Bloch first demonstrated the phenomenon of nuclear magnetic resonance using continuous-wave signal generation and acquisition. Shortly after in 1966, Richard R. Ernst demonstrated the breakthrough that nuclear magnetic resonance needed to develop into magnetic resonance imaging: the application of Fourier transforms for sensitive pulsed imaging. Upon this discovery, the world of research began to develop high power radio amplifiers and fast radio switches for pulsed experimentation. Consequently, continuous-wave imaging placed on the backburner.Although high power pulses are dominant in clinical imaging, there are unique advantages to low power, continuous-wave pulse sequences that transmit and receive signals simultaneously. Primarily, tissues or materials with short T2 time constants can be imaged and the peak radio power required is drastically reduced. The fundamental problem with this lies in its nature; the transmitter leaks a strong leakage signal into the receiver, thus saturating the receiver and the intended nuclear magnetic resonance signal is lost noise. Demonstrated in this dissertation is a multichannel standalone simultaneous transmit and receive (STAR) system with remote user-control that enables continuous- wave full-duplex imaging. STAR calibrates cancellation signals through vector modulators that match the leakage signal of each receiver in amplitude but opposite in phase, therefore destructively interfering the leakage signals. STAR does not require specific imaging coils or console inputs for calibration. It was designed to be general- purpose, therefore integrating into any imaging system. To begin, the user uses an Android tablet to tune STAR to match the Larmor frequency in the bore. Then, the user tells STAR to begin calibration. After self-calibrating, the user may fine-tune the calibration state of the system before enabling a low-power mode for system electronics and imaging may commence. STAR was demonstrated to isolate two receiver coils upwards of 70 dB from the transmit coil and is readily upgradable to enable the use of four receive coils. Some primary concerns of STAR are the removal of transceivers for multichannel operation, digital circuit noise, external noise, calibration speed, upgradability, and the isolation introduced; all of which are addressed in the proceeding thesis.
ContributorsColwell, Zachary Allen (Author) / Sohn, Sung-Min (Thesis advisor) / Trichopoulos, Georgios (Thesis advisor) / Aberle, James (Committee member) / Sadleir, Rosalind (Committee member) / Arizona State University (Publisher)
Created2023
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Description
Before the digital age, architectural representation in drawing resulted from two transformational processes: one happened with the author as they developed the drawing from an idea to material. The second happened with the viewer as they interpreted the drawing. In these processes, a particular medium, the frame, raises the status

Before the digital age, architectural representation in drawing resulted from two transformational processes: one happened with the author as they developed the drawing from an idea to material. The second happened with the viewer as they interpreted the drawing. In these processes, a particular medium, the frame, raises the status of ideas—the frame functions as an organizing principle that unifies the artist’s intentions and practice. Today digital drawing has mostly replaced annotated drawing, and in the exchange, the benefit of the frame is lost.This qualitative study utilizes a conceptual approach to observe the frame and propose a methodology to bring together the analog/physical frame and the digital/immersive frame. The study enters a dialog with the art theorist Rosalind Krauss who writes about the “Institution of the Frame,” and the art historian Svetlana Alpers who classifies two different modes of representing the world—the Albertian and the Keplerian. Following Krauss’ statement, the study argues that a frame is an act of excision. Inspired by Alpers’ classification, the study focuses on creating two modes of frames, the Alberti and the Brunelleschi. The Alberti mode considers the frame a veil—a two-dimensional surface. Brunelleschi mode observes the frame as a fold—a three-dimensional surface. The study utilizes several analytical methods: descriptive writing, graphic diagramming, and the production of drawings that unite the analog and digital as physical spaces and cinematic screens. These methods develop from the work of Luke Winslow in Frame Analysis, which provides a three-step “meaning-making process” to dissect multiple materials as an interdisciplinary framework. The study examines eight cases studies to identify systematic and generalizable principles, distinguish the relationship between analog and digital frames, and illuminate a strategy to build a delay in the process of thinking about architectural design in the digital age. The conclusion offers an approach for interfacing analog and digital frames in architecture while reflecting on the results, the significance of the interdisciplinary research study, and a position statement—the very essence of the research.
ContributorsRocchi, Elena (Author) / Davids Scott, Jason (Thesis advisor) / Hedberg Olenina, Ana (Committee member) / Bernstein, Max (Committee member) / Arizona State University (Publisher)
Created2022