Millenial learners are individuals born after 1985 with very wide exposure to various types of media enhanced by technology. They are persons who had listened to music while in the wombof their mothers and had watched television starting at age 0. Most of them would have hada music player or a game pad or a mobile phone at age 8. (Deterle, Dede and Schrier, 2008)These millenial learners grew up with constant web connectivity at their fingertips to assist themin their homeworks.

The present pedagogies our academic institutions employ to support the learning style ofthe web generation of students may not be as suitable. Social constructivism, transformativelearning or problem-based learning, while prevalent in the Asian context, may be more perfectfor cognitively dynamic students. Our students nowadays are more adept to constructingknowledge, content (Attwell, 2007) and even more independent in their learning priorities.This study attempts to understand the new learning practices among our students. This studyattempts to find out how college students define what a good learning experience is. It is alsothe intention of the study to explore new educational practices and hopefully drive ways ofdesigning and developing the future of learning activities.

The study was conceived in May 2011 and was planned to collect data in the form of shortvideos in a span of six months, from June to December. There will be two sets of samples, onefrom the students of De La Salle University of the Philippines (DLSU) and the other from thestudents of University West (UW) in Sweden.

The experiment asked for a two minute video that will be created and expressed by anindividual or group of students. This meant planning and organization to compose the thoughts,the message and the content of the video. Since this contains the expression of the studentsthemselves, the self-expression equates to a great degree of authenticity.

This paper will impart the work-in-progress of this experiment, the Great Learning Experience.To date, there are twenty videos from DLSU and fifteen videos from UW. This paper will tell themethods used in the different classes and the initial findings. Comparison of the UW and DLSUvideos is not included in the paper.

Concerns that actors in the future are at risk of being replaced by digital copies (Wahl, 2019) and the problem that photorealistic faces often end up in the Uncanny Valley (MacDorman et al. 2009) are addressed in this study. The study examines which factors that affects the believability in a digitally created face. With this study we want to contribute to the current research on what factors can reveal a digital face. By investigating what elements affect the conviction of digital facial replacements we can get a better understanding of the technical development. The research has been based on a quantitative method. A questionnaire was sent out via Facebook to people with an interest in film and/or animation. The form contained clips from various big-budget films in which actors' faces were retouched or completely replaced by CGI. The participants in the survey were presented with questions involving which characters they thought were digitally created and whether they recognized any of the actors. The result showed that it is easier for the film audience to discern digital faces if they recognized the actor. We could not see that the technical development had any noticeable effect on the result. From our investigation it appeared that digital characters appear more convincing in darker environments and if using moderate facial expressions.

This paper maps out the possibility to create and implement a mobile application based on a project brief from mCity, that will help Trollhättan in becoming a smarter city. The reader gains a deeper understanding of how, with the help of data collection and analysis can infer patterns and based on that, create an interface as well as content that meets project objectives and contribute to the development from a Smart City perspective.We have, by interviewing local government employees and citizens, created a prototype built upon approved methods in usability that meets the above criteria which has also been tested on further citizens to evaluate the usability and user experience.Using this mapping, we believe that the future development and implementation of this and/or a similar type of application has been facilitated and the reconciliations made, indicate that such an implementation would also be of Trollhättan's advantage in its quest to become a smarter city

Today companies need to create a strong brand as means of competition to handle the increased globalization, a part of this work is to create brand awareness and brand association through a clear visual identity. Social media is seen as a tool for companies to strengthen their brand and the relation to the consumer. Instagram is the fastest growing network, whose purpose is the visual communication. It can therefore be seen as a tool for companies to strengthen their visual brand identity. But while there are opportunities, there is also a picture of companies finding it difficult to break through and create commitment. The purpose of this study has therefore been to examine how companies with visual communication and their brand identity can create content that creates commitment. A qualitative case study has been implemented where a company's work with their content on Instagram has been examine, to see how they are working from the concepts and what it has generated in commitment. The methods quantitative content analysis and semi structured interview has been used. The result of the study shows how visual communication and brand identity can contribute to create a feeling and cognitive thought activity at the recipient. Two important dimensions in commitment on social media and how the consumer engages with a brand. In the end recommendations for future studies are made to compare one or more companies, and influencers, in their work with their content on Instagram. But also a comparative qualitative analysis between the company's posts.

Adding network connectivity to any “thing” can certainly provide great value, but it also brings along potential cybersecurity risks. To fully benefit from the Internet of Things “IoT” system’s capabilities, the validity and accuracy of transmitted data should be ensured. Due to the constrained environment of IoT devices, practical security implementation presents a great challenge. In this paper, we present a noise-resilient, low-overhead, lightweight steganography solution adequate for use in the IoT environment. The accuracy of hidden data is tested against corruption using multiple modulations and coding schemes (MCSs). Additive white Gaussian noise (AWGN) is added to the modulated data to simulate the noisy channel as well as several wireless technologies such as cellular, WiFi, and vehicular communications that are used between communicating IoT devices. The presented scheme is capable of hiding a high payload in audio signals (e.g., speech and music) with a low bit error rate (BER), high undetectability, low complexity, and low perceptibility. The proposed algorithm is evaluated using well-established performance evaluation techniques and has been demonstrated to be a practical candidate for the mass deployment of IoT devices.

In this study, we have examined Netflix users' general perception and understanding of filtering, recommender system and personal recommendations. We investigated from a user perspective because this perspective centered around users was lacking in previous research. To answer the research questions, we conducted a semi-structured internet-based interview that gave us the opportunity to understand the underlying cause of their opinion. We interviewed ten experienced Netflix users. The results showed that Netflix users we studied were generally not satisfied. They described that their decision-making process was influenced by the filtering and the recommendations they received from the service. Of the ten interviewed users, only two were satisfied with the recommendations and used the personal recommendations they received. The users' opinion about recommender system affected their views of personal recommendations and filtering. The result also showed that the users seek understanding of how Netflix recommends, they want to see a clear connection between their previously seen content with their current personal recommendations. At the end of the study, we gave future recommendations to further work in this subject.

The purpose of this study was to examine if and to what extent characters should be included in the concept of Environmental Storytelling, which treats environments,objects, and atmosphere as storytelling elements within digital environments. Contemporary use of Environmental storytelling is a means of conveying story within game design. This study sought to confirm or reject the hypothesis that game design is enhanced by incorporating characters as a part of Environmental Storytelling in the process of creating new games and digital spaces. The study shows through its survey how characters can tell stories about the environment just as much or even to a greater extent than the environment conveys narratives about its characters. To validate or contradict these claims, a digital scene was created were ten persons were asked to interpret this scene visually. In conjunction with the survey, each participant was expected to subjectively interpret and account for a fictitious chain of events and causes and effects in the scene independently. The group was split in half were fiveparticipants also had a character placed in the scene in order for the survey to examine to what extent this results in a more detailed and precise re-telling of what has happened, is happening and might occur in the room. Through a narrative data analysis of the qualitative data that was gathered through interviews with participants, the study could present exciting findings. The result showed that characters have a significant influence over the environment and how the participants perceive it. The study reveals how the respondents with a character present in the scene recalled more details and consistent theories regarding the sequence of events. The character had less impact on the result than expected. Though however, the presence of a character was useful for the participant´s analysis process regarding them describing and strengthening their interpretation of the environments story, genre and where the narrative takes place. The conclusion of the study based on the results points towards how game designers could benefit from the environment and character design approaching one another to mediate the narrative of the digital world. The study constitutes a good foundation on which further research through more detailed experiments and analysis of today's video games can be made on this alternative view of environmental storytelling.

This case study observes the relation between selected movie-viewers and special effects. The aim of this study is to find and define potential distractions that special effects could cause which in result can affect the filmic reality and viewer experience. With the help of a semi structured interview with an addition of a live showcasing of different outtakes of famous science fiction-movies we let our informants express the noticeable elements that they reacted to.

The answers are analysed by a systematic structure inspired by the grounded theory to give an overview of what our informants experienced. By the use of theories such as Perceptual Realism, Reality Effect and Cognitive Film Theory we found that disturbance within perceptual expectations and the visual whole to be the main contributing factors amongst our informants as to what causes a special effect to distract them from accepting the filmic reality.

Digital Storytelling is a concept described as a communication process where people can convey their message in the form of narrative stories. In conjunction with the modernization, these stories have been used in new ways. Digital storytelling enables companies to shape their ideas by giving recipients an experience that can evoke both emotions and new thoughts. The purpose of this study is to create an understanding of how digital storytelling can be used as a marketing tool in non-profit organizations. The purpose will be achieved by identifying the main factors that affect the recipients emotionally in one of “Cancerfonden” commercials. This was done with the help of semi-structured interviews, where seven respondents were selected with variation in age and gender.

Selected theoretical frameworks contain theories about digital storytelling, the structure of advertising and how it affects the recipient. Significant parts of storytelling are capturing attention, providing experiences, evoking emotions and creating pattern recognition with the help of a chosen narrative structure. By using these parts, successful advertising can give rise to a more favorable and deeper relationship between recipients and companies. This study concludes that three factors are significant for how affected the recipient is by digital storytelling in commercials; personal recognition, feeling of self wellbeing and trust. This study concludes that digital storytelling is more effective when non-profit organizations gets to know its target group more deeply and can identify these factors above. 

In this thesis we are researching the development of storytelling in games, in particular independent game productions. By looking at the already established development in the American cinema we compare the mainstream and independent productions to modern societies' producer patterns in games.We explore differences and similarities of storytelling in mainstream-and independent games by making a comparative analysis of two games: the mainstream production L.ANoire, 2011, and the independent production Journey,2012. By using theories such as Aristotle's three act structure, mise-en-scen and character development we are able to get an overall impression of the aspects storytelling has in these games. To further strengthen our analysis we conducted two interviews with established game developers. One of them has an extensive history of working with mainstream productions and the other is an independent game developer with a successful production history.We manage to argue for the impact independent game development has on the mainstream productions in regard to storytelling. Both the interviews and analysis show that independent game productions are using storytelling in a much more experimental manner, adapting it from the American cinema to the medium of games. However, wefailed to give a clear representation to how storytelling, as a new language, is developing in games.

The purpose of our research is to contribute with increased knowledge of consumers' perceptions of sponsored collaborations and their declarations. A qualitative research method is implemented in which respondents get to see three example videos with a fictional influencer practicing different forms of declaration. Ten semi-structured interviews were conducted with supporting field notes to reach a deeper understanding of respondents' perceptions of the material. The study's results indicate that higher transparency should be practiced giving consumers a more positive view of the influencer and the brand being marketed. With the result as a basis, a list of declaration recommendations was formulated in order to effectively avoid consumer manipulation and misunderstanding.

The following study examines Generation Y's perception of credible marketing of ecological sustainability in the textile and fashion industry in digital media. The study is a qualitative interview study focusing on sustainability in marketing, the individual's interpretation of marketing and credibility. All data collection has been done through personal semi-structured interviews that, after transcription and analysis, ultimately lead to the result of the generation's perception of ecological marketing. The study's informants belong to generation Y, who are individuals born between 1978 and 1995. They all have post-secondary education and use digital media daily. The selection was chosen because the majority of the generation has a post-secondary education and thus higher salaries than other generations, but also because of their discerning and constantly comparative consumer behavior. The study involved eight informants who were included in the sample. The study's results show that generation Y, despite their discerning and constantly comparative consumer behavior, can be reached by marketing with ecological sustainability in the textile and fashion industry and that the generation prefers easily accessible and detailed information on how, why and what it results in. The generation also feels that numbers and statistics increase the sense of credible marketing in digital media and that scandals involving falsifying or withholding information about the brand's work on ecological sustainability cause them to lose their trust in the brand, in some cases even result in a refusal to consume from the brand.

The purpose of this study is to test the validity of our hypotheses that hybridization between 3D CGI and other media to be an effective alternative to avoid The Uncanny Valley in 3D animation while utilizing the aesthetics at the same time and the technical strengths that it brings. To accomplish this, we have chosen to investigate an audience's perception of hybridization in animated film clips in the form of a quantitative study with an explorative and descriptive analysis of data collected through a structured onlinebased survey based on a frequency scale. The study consisted of twenty-nine participants who watched ten movie clips with a varying degree of trace of labour and hybridization to then give quick assessments for a few questions. The data was processed and analyzed through SPSS using the frequency scale to better study the twenty-nine participants collected answers. The results of the study showed that a majority of the participants assessed these hybrid films as highly handmade, aesthetically pleasing and associated them to both their original form of animation as well as the forms of animation they incorporated into their aesthetic style. We saw no strong connection in the result between how handmade the animation was perceived as and how aesthetically pleasing it was. There was, however, a connection between high degree of eeriness and the animation being perceived as not very aesthetically pleasing.

The purpose of this thesis is to investigate how design principles regarding body shape work in practice and how these affect the perception of a stylized 3D character's personality traits. We hope this can help animators and character designers gain an awareness of how character design affects the experience of the characters. This was investigated through a quantitative survey that was distributed in groups on Facebook and shared on our private Facebook profiles. For the questionnaire, nine animated film clips were created where three characters with triangular, round, and generic body shapes were tested against three different personality traits. These traits were loving, elation, and sadness. The answers from the questionnaire were used to analyze how spectatorsperceive animated characters depending on their body shape and to see if established design principles regarding character design are correct. The results from the survey showed that the respondents often had positive connotations to the round character and that the design principles that exist around the round body shape are correct. The respondents had several negative connotations to the triangular character even though the design principles could not be fully proven. The survey also showed that the majority of the respondents considered that the character's body language and level of expressiveness were more important for how they perceived the character's feelings and state of mind than the shape of the body. However, we can see clear patterns that body shape has influenced the respondents' perception of the characters; especially when the characters had similar body language and level of expressiveness among themselves. This shows that body shape and animation are strongest when used together.

Historically, films from the mainstream American animation companies have had an almost non-existent representation of homosexual characters. Previously, it has been proven that the heteronormative has had a strong dominance in these companies. Considering the companies constantly produce new films, we aim to explore if this is still accurate. Within this context, this research offers an updated perspective on current representation by analyzing five animated feature films: Zootopia (2016), ParaNorman (2012), Storks (2016), Finding Dory (2016) and Frozen (2013). We have, with semiotics as a foundation, conducted a qualitative inductive content analysis of these films. By diverging from the heteronormative perspective which is deeply rooted in society we have viewed these films with a different approach. This research shows that the inclusion of homosexual couples and queer characters in animated films has increased. However, despite this increase the characters remain in small roles which are only included for a short time. This shows that the heteronormative still dominates in American mainstream animation. The clues which are given about the characters’ sexuality are subtle, resulting in them being easily overlooked.