A Study of Mobile Augmented Reality Advertising app

There are several typical marketing and promotional tools that have been used by most printed media Microenterprises in Malaysia to spread their services and information about their products such as brochures and banners. However, there are some weaknesses of these approaches that include; the product information consisting only text and images, and also non-interactive. The aim of this paper is to provide interactive information beyond that of conventional advertising approaches. This paper introduces the mobile Augmented Reality Advertising (MARA) app for the printed media Microenterprises. A study was carried out among a sample of 60 mobile users. Descriptive statistical analysis was employed to determine the perceptions of users towards the use of the MARA app in terms of Perceived Ease of Use, Perceived Usefulness, Attitude toward Use, Informativeness and Advertising Value. The results indicated that the users highly agreed on all the measurements

Mobile Augmented Reality Advertising (MARA) for Printed Media Microenterprise

This study focuses on the design and development of the Mobile Augmented Reality Advertising (MARA) application for the printed media microenterprises. Most of the printed media microenterprises in Malaysia use typical advertising tools such as banners and streamers to disseminate information about their products and services. However, these approaches have some limitations since the information consists of only texts and images, non-interactive and only attract attention of the passers-by only. From the preliminary study, it clearly shows that they have problems related to product promotion but at the same time they are also confident that their business will grow through promotion.Therefore, an alternative approach of advertising which is affordable, effective and trendy is required for the microenterprises. This study proposes Mobile Augmented Reality Advertising (MARA) application for the printed media microenterprises which incorporates Augmented Reality (AR) and Multimedia (MM) technologies to study users‘ intention to use based on perceived usefulness, perceived ease of use, informativeness, and advertising value. The research methodology of this study consists of five phases namely; problem awareness, design, development, evaluation and documentation which was adopted from Kuehler and Vaishnavi. For the development phase, the waterfall method was utilised. This study incorporates the Technology Acceptance Model, Theory of Planned Behaviour and Advertising Value Model. Descriptive statistics, Pearson Correlation and Regression analyses were used to determine the effects of perceived ease of use, perceived usefulness, informativeness and advertising value toward users‘ intention to use the MARA application. The results provided empirical support for the statistically significant relationships between informativeness and advertising value and intention to use. However, perceived ease of use and perceived usefulness have no significant relationships with intention to use. As for the conclusion, this study has looked into the possibility of introducing a new approach of advertising for the printed media microenterprises through the use of Mobile Augmented Reality. It is hoped that the findings of this study will encourage the printed media microenterprises in Malaysia to utilize the MARA application in promoting and marketing of their products and services

A Memento of Complexity: The Rhetorics of Memory, Ambience, and Emergence

Drawing from complexity theory, this dissertation develops a schema of rhetorical memory that exhibits extended characteristics. Scholars traditionally conceptualize memory, the fourth canon in classical rhetoric, as place (loci) or image (phantasm). However, memory rhetoric resists the traditional loci-phantasm framework and instead emerges from enmeshments of interiority, collectivity, and technology. Emergence considers the dynamics of fundamental parts that generate complex systems and offers a methodological lens to theorizing memory. The resulting construct informs everyday life, which includes interfacing with pervasive computing or sensing familiarity. Further, congruently with a neurological turn that contradicts simplification, this dissertation resituates rhetorical memory as generative to imagination or perception

Recollecting Work : Labour and Class in Contemporary North American Historical Fiction

[À l'origine dans / Was originally part of : Thèses et mémoires - FAS - Département d'études anglaises]Ma thèse examine quatre romans de l`époque post-1960 qui s’appuient sur le genre de la littérature prolétarienne du début du vingtième siècle. Se basant sur les recherches récentes sur la littérature de la classe ouvrière, je propose que Pynchon, Doctorow, Ondaatje et Sweatman mettent en lumière les thèmes souvent négligés de cette classe tout en restant esthétiquement progressiste et pertinents. Afin d’explorer les aspects politiques et formels de ces romans, j’utilise la « midfiction », le concept d’Allen Wilde. Ce concept vise les textes qui utilisent les techniques postmodernes et qui acceptent la primauté de la surface, mais qui néanmoins essaient d’être référentiels et d’établir des vérités. Le premier chapitre de ma thèse propose que les romans prolétariens contemporains que j’ai choisis utilisent des stratégies narratives généralement associées avec le postmodernisme, telles que la métafiction, l’ironie et une voix narrative « incohérente », afin de contester l’autorité des discours dominants, notamment les histoires officielles qui ont tendance à minimiser l’importance des mouvements ouvriers. Le deuxième chapitre examine comment les romanciers utilisent des stratégies mimétiques afin de réaliser un facteur de crédibilité qui permet de lier les récits aux des réalités historiques concrètes. Me référant à mon argument du premier chapitre, j’explique que ces romanciers utilisent la référentialité et les voix narratives « peu fiables » et « incohérentes », afin de politiser à nouveau la lutte des classes de la fin du dix-neuvième et des premières décennies du vingtième siècles et de remettre en cause un sens strict de l’histoire empirique. Se basant sur les théories évolutionnistes de la sympathie, le troisième chapitre propose que les représentations des personnages de la classe dirigeante riche illustrent que les structures sociales de l’époque suscitent un sentiment de droit et un manque de sympathie chez les élites qui les font adopter une attitude quasi-coloniale vis-à-vis de la classe ouvrière. Le quatrième chapitre aborde la façon dont les romans en considération négocient les relations entre les classes sociales, la subjectivité et l’espace. Cette section analyse comment, d’un côté, la représentation de l’espace montre que le pouvoir se manifeste au bénéfice de la classe dirigeante, et de l’autre, comment cet espace est récupéré par les ouvriers radicaux et militants afin d’avancer leurs intérêts. Le cinquième chapitre explore comment les romans néo-prolétariens subvertissent ironiquement les tropes du genre prolétarien précédent, ce qui exprimerait l’ambivalence politique et le cynisme généralisé de la fin du vingtième siècle.My dissertation project examines post-1960s novels that draw on the genre of proletarian fiction of the early twentieth century. Building upon current research focused on working-class literature, as well as pertinent literary theory, I argue that Pynchon, Doctorow, Ondaatje, and Sweatman bring to light often neglected working-class themes while remaining aesthetically progressive and relevant. In order to explore these novels in their political and formal aspects I employ Allen Wilde’s concept midfiction. This concept refers to texts that use postmodern techniques and accept the primacy of surface, but nonetheless try to be referential and establish truths. The first chapter of my dissertation argues that the contemporary proletarian novels that I have selected employ narrative strategies commonly associated with postmodernism, such as metafiction, irony, and an “incoherent” narrative voice, to challenge the authority of dominant discourses, including the official histories that tend to downplay labour movements. The second chapter examines how the novelists employ mimetic strategies in tandem with more experimental techniques in order to achieve a believability factor that helps to connect the narratives to concrete historical realities. Referring to my argument in chapter one, I explain that the novelists ultimately use these two modes, referentiality and “unreliable”, “incoherent” narrative voices, in order to both re-politicize the class struggle of the late nineteenth and early decades of the twentieth century as well as to undermine a strict sense of empirical history. The third chapter draws on evolutionist theories of sympathy to argue that the depictions of wealthy ruling class characters illustrate that social structures at the time fostered a sense of entitlement and lack of sympathy in the elites that caused them to adopt a colonial-like attitude towards the working class. The fourth chapter addresses how the novels under consideration mediate the relationships between social classes, subjectivity and space. This section analyses how, on the one hand, representations of space show how power is manifested to benefit the ruling class, and on the other hand, how space was co-opted by radicals and militant workers in order to further their interests. The fifth chapter explores how the neo-proletarian novels ironically subvert tropes from the earlier proletarian genre which, I argue, expresses the political ambivalence and cynicism of the late twentieth century

The Twenty-Frist Century Pantagruel: The Function of Grotesque Aesthetics in the Contemporary World

This dissertation examines whether the grotesque, an aesthetic form associated with the carnivalesque literary mode and commonly seen as aesthetically and politically subversive, can resume its function within the contemporary context in which carnivalisation of everyday life is a frequently noted aspect of capitalist culture. Locating as its primary image the human body in the process of often-violent deformation, this study explores this problem by theorising the grotesque as Janus-faced: existing on the boundary between the Symbolic and the Real. As such, I argue that the grotesque is: a) deeply related to cultural attempts to challenge hegemonic structures, even as these challenges become themselves implicated in the power structures they oppose (Chapters 1, 2, and 3); and b) a concept that reveals the realm of the Real as independent of human consciousness while also being of profound interest for this consciousness and the subjectivity which it underpins (Chapters 3 and 4). In outlining this argument, this study deploys the theories of Gilles Deleuze, Slavoj Žižek, and Alain Badiou, as well as the work of Jacques Rancière, Henri Lefebvre, Thomas Metzinger, Catherine Malabou, Quentin Meillassoux, and Ray Brassier. It, furthermore, works its way backwards from the Anglo-American cultural scene of the late 1990s and early 2000s (Sarah Kane’s Cleansed and Quentin Tarantino’s Inglourious Basterds), through elaborations of punk anti-Thatcherite London(s) of the late 1970s/early 1980s (Peter Ackroyd’s Hawksmoor, Alan Moore and Eddie Campbell’s From Hell, and Iain Sinclair White Chappell, Scarlet Tracings), to post-1968 attempts to reinvigorate a progressive vision of the USA and write it (back) into existence through Gonzo autobiography and journalism (Oscar Zeta Acosta’s The Revolt of the Cockroach People and The Autobiography of a Brown Buffalo, and Hunter S. Thompson’s Fear and Loathing in Las Vegas). In this way, the argument of this work tries to find a path – through a deformed human body in works of literature, film, and comics – toward a non-human world that can be deployed in the service of a progressive political vision, even while the autonomy of this non-human world is recognised