The influence of the visual elements of cover design on the appeal of art and cultural magazines: case study is book fare in Oulu

Design of magazines - a complex and time-consuming process, often requiring custom solutions. Developers need to know what impact on the visual component of information influence on the audience. The purpose of this case is to gain an understanding of what kind of visual elements of paper media influence on the choice of viewer. As a particular type of magazine were chosen art and cultural magazine with a reason to narrow research and to get depth knowledge about this topic. The study is structured that in the first chapter the information about purpose and research questions is provided. Second chapter describes research materials and methodology that were used to collect data. The third chapter gives the literature review that focus subjects of the study. In the chapters four, the results of the research is analysed and conclusions are made. After all chapters made generalised conclusion using data from the literature review and data collected from the interviews

Mobility is the Message: Experiments with Mobile Media Sharing

This thesis explores new mobile media sharing applications by building, deploying, and studying their use. While we share media in many different ways both on the web and on mobile phones, there are few ways of sharing media with people physically near us. Studied were three designed and built systems: Push!Music, Columbus, and Portrait Catalog, as well as a fourth commercially available system – Foursquare. This thesis offers four contributions: First, it explores the design space of co-present media sharing of four test systems. Second, through user studies of these systems it reports on how these come to be used. Third, it explores new ways of conducting trials as the technical mobile landscape has changed. Last, we look at how the technical solutions demonstrate different lines of thinking from how similar solutions might look today. Through a Human-Computer Interaction methodology of design, build, and study, we look at systems through the eyes of embodied interaction and examine how the systems come to be in use. Using Goffman’s understanding of social order, we see how these mobile media sharing systems allow people to actively present themselves through these media. In turn, using McLuhan’s way of understanding media, we reflect on how these new systems enable a new type of medium distinct from the web centric media, and how this relates directly to mobility. While media sharing is something that takes place everywhere in western society, it is still tied to the way media is shared through computers. Although often mobile, they do not consider the mobile settings. The systems in this thesis treat mobility as an opportunity for design. It is still left to see how this mobile media sharing will come to present itself in people’s everyday life, and when it does, how we will come to understand it and how it will transform society as a medium distinct from those before. This thesis gives a glimpse at what this future will look like

Flickr: A case study of Web2.0

The “photosharing” site Flickr is one of the most commonly cited examples used to define Web2.0. This paper explores where Flickr’s real novelty lies, examining its functionality and its place in the world of amateur photography. The paper draws on a wide range of sources including published interviews with its developers, user opinions expressed in forums, telephone interviews and content analysis of user profiles and activity. Flickr’s development path passes from an innovative social game to a relatively familiar model of a website, itself developed through intense user participation but later stabilising with the reassertion of a commercial relationship to the membership. The broader context of the impact of Flickr is examined by looking at the institutions of amateur photography and particularly the code of pictorialism promoted by the clubs and industry during the C20th. The nature of Flickr as a benign space is premised on the way the democratic potential of photography is controlled by such institutions. Several optimistic views of the impact of Flickr such as its facilitation of citizen journalism, “vernacular creativity” and in learning as an “affinity space” are evaluated. The limits of these claims are identified in the way that the system is designed to satisfy commercial purposes, continuing digital divides in access and the low interactivity and criticality on Flickr. Flickr is an interesting source of change, but can only to be understood in the perspective of long term development of the hobby and wider social processes

DSLR-Quality Photos on Mobile Devices with Deep Convolutional Networks

Despite a rapid rise in the quality of built-in smartphone cameras, their physical limitations - small sensor size, compact lenses and the lack of specific hardware, - impede them to achieve the quality results of DSLR cameras. In this work we present an end-to-end deep learning approach that bridges this gap by translating ordinary photos into DSLR-quality images. We propose learning the translation function using a residual convolutional neural network that improves both color rendition and image sharpness. Since the standard mean squared loss is not well suited for measuring perceptual image quality, we introduce a composite perceptual error function that combines content, color and texture losses. The first two losses are defined analytically, while the texture loss is learned in an adversarial fashion. We also present DPED, a large-scale dataset that consists of real photos captured from three different phones and one high-end reflex camera. Our quantitative and qualitative assessments reveal that the enhanced image quality is comparable to that of DSLR-taken photos, while the methodology is generalized to any type of digital camera

Flaunting it on Facebook: Young adults, drinking cultures and the cult of celebrity

Copyright © Antonia Lyons; Tim McCreanor; Fiona Hutton; Ian Goodwin; Helen Moewaka Barnes; Christine Griffin; Kerryellen Vroman; Acushla Dee O’Carroll; Patricia Niland; Lina Samu Print publication available from: http://www.drinkingcultures.info/Young adults in Aotearoa/New Zealand (NZ) regularly engage in heavy drinking episodes with groups of friends within a collective culture of intoxication to ‘have fun’ and ‘be sociable’. This population has also rapidly increased their use of new social networking technologies (e.g. mobile camera/ video phones; Facebook and YouTube) and are said to be obsessed with identity, image and celebrity. This research project explored the ways in which new technologies are being used by a range of young people (and others, including marketers) in drinking practices and drinking cultures in Aotearoa/NZ. It also explored how these technologies impact on young adults’ behaviours and identities, and how this varies across young adults of diverse ethnicities (Maori [indigenous people of NZ], Pasifika [people descended from the Pacific Islands] and Pakeha [people of European descent]), social classes and genders. We collected data from a large and diverse sample of young adults aged 18-25 years employing novel and innovative methodologies across three data collection stages. In total 141 participants took part in 34 friendship focus group discussions (12 Pakeha, 12 Maori and 10 Pasifika groups) while 23 young adults showed and discussed their Facebook pages during an individual interview that involved screencapture software and video recordings. Popular online material regarding drinking alcohol was also collected (via groups, interviews, and web searches), providing a database of 487 links to relevant material (including websites, apps, and games). Critical and in-depth qualitative analyses across these multimodal datasets were undertaken. Key findings demonstrated that social technologies play a crucial role in young adults’ drinking cultures and processes of identity construction. Consuming alcohol to a point of intoxication was a commonplace leisure-time activity for most of the young adult participants, and social network technologies were fully integrated into their drinking cultures. Facebook was employed by all participants and was used before, during and following drinking episodes. Uploading and sharing photos on Facebook was particularly central to young people’s drinking cultures and the ongoing creation of their identities. This involved a great deal of Facebook ‘work’ to ensure appropriate identity displays such as tagging (the addition of explanatory or identifying labels) and untagging photos. Being visible online was crucial for many young adults, and they put significant amounts of time and energy into updating and maintaining Facebook pages, particularly with material regarding drinking practices and events. However this was not consistent across the sample, and our findings revealed nuanced and complex ways in which people from different ethnicities, genders and social classes engaged with drinking cultures and new technologies in different ways, reflecting their positioning within the social structure. Pakeha shared their drinking practices online with relatively little reflection, while Pasifika and Maori participants were more likely to discuss avoiding online displays of drinking and demonstrated greater reflexive self-surveillance. Females spoke of being more aware of normative expectations around gender than males, and described particular forms of online identity displays (e.g. moderated intake, controlled selfdetermination). Participants from upper socio-economic groups expressed less concern than others about both drinking and posting material online. Celebrity culture was actively engaged with, in part at least, as a means of expressing what it is to be a young adult in contemporary society, and reinforcing the need for young people to engage in their own everyday practices of ‘celebritising’ themselves through drinking cultures online. Alcohol companies employed social media to market their products to young people in sophisticated ways that meant the campaigns and actions were rarely perceived as marketing. Online alcohol marketing initiatives were actively appropriated by young people and reproduced within their Facebook pages to present tastes and preferences, facilitate social interaction, construct identities, and more generally develop cultural capital. These commercial activities within the commercial platforms that constitute social networking systems contribute heavily to a general ‘culture of intoxication’ while simultaneously allowing young people to ‘create’ and ‘produce’ themselves online via the sharing of consumption ‘choices’, online interactions and activities

WESPE: Weakly Supervised Photo Enhancer for Digital Cameras

Low-end and compact mobile cameras demonstrate limited photo quality mainly due to space, hardware and budget constraints. In this work, we propose a deep learning solution that translates photos taken by cameras with limited capabilities into DSLR-quality photos automatically. We tackle this problem by introducing a weakly supervised photo enhancer (WESPE) - a novel image-to-image Generative Adversarial Network-based architecture. The proposed model is trained by under weak supervision: unlike previous works, there is no need for strong supervision in the form of a large annotated dataset of aligned original/enhanced photo pairs. The sole requirement is two distinct datasets: one from the source camera, and one composed of arbitrary high-quality images that can be generally crawled from the Internet - the visual content they exhibit may be unrelated. Hence, our solution is repeatable for any camera: collecting the data and training can be achieved in a couple of hours. In this work, we emphasize on extensive evaluation of obtained results. Besides standard objective metrics and subjective user study, we train a virtual rater in the form of a separate CNN that mimics human raters on Flickr data and use this network to get reference scores for both original and enhanced photos. Our experiments on the DPED, KITTI and Cityscapes datasets as well as pictures from several generations of smartphones demonstrate that WESPE produces comparable or improved qualitative results with state-of-the-art strongly supervised methods

Media aesthetics based multimedia storytelling.

Since the earliest of times, humans have been interested in recording their life experiences, for future reference and for storytelling purposes. This task of recording experiences --i.e., both image and video capture-- has never before in history been as easy as it is today. This is creating a digital information overload that is becoming a great concern for the people that are trying to preserve their life experiences. As high-resolution digital still and video cameras become increasingly pervasive, unprecedented amounts of multimedia, are being downloaded to personal hard drives, and also uploaded to online social networks on a daily basis. The work presented in this dissertation is a contribution in the area of multimedia organization, as well as automatic selection of media for storytelling purposes, which eases the human task of summarizing a collection of images or videos in order to be shared with other people. As opposed to some prior art in this area, we have taken an approach in which neither user generated tags nor comments --that describe the photographs, either in their local or on-line repositories-- are taken into account, and also no user interaction with the algorithms is expected. We take an image analysis approach where both the context images --e.g. images from online social networks to which the image stories are going to be uploaded--, and the collection images --i.e., the collection of images or videos that needs to be summarized into a story--, are analyzed using image processing algorithms. This allows us to extract relevant metadata that can be used in the summarization process. Multimedia-storytellers usually follow three main steps when preparing their stories: first they choose the main story characters, the main events to describe, and finally from these media sub-groups, they choose the media based on their relevance to the story as well as based on their aesthetic value. Therefore, one of the main contributions of our work has been the design of computational models --both regression based, as well as classification based-- that correlate well with human perception of the aesthetic value of images and videos. These computational aesthetics models have been integrated into automatic selection algorithms for multimedia storytelling, which are another important contribution of our work. A human centric approach has been used in all experiments where it was feasible, and also in order to assess the final summarization results, i.e., humans are always the final judges of our algorithms, either by inspecting the aesthetic quality of the media, or by inspecting the final story generated by our algorithms. We are aware that a perfect automatically generated story summary is very hard to obtain, given the many subjective factors that play a role in such a creative process; rather, the presented approach should be seen as a first step in the storytelling creative process which removes some of the ground work that would be tedious and time consuming for the user. Overall, the main contributions of this work can be capitalized in three: (1) new media aesthetics models for both images and videos that correlate with human perception, (2) new scalable multimedia collection structures that ease the process of media summarization, and finally, (3) new media selection algorithms that are optimized for multimedia storytelling purposes.Postprint (published version

Your Photo, My Destination! A qualitative semiotic analysis of tourist user-generated content from the west of Norway on Instagram.

Instagram er en populær plattform for deling av visuelt innhold. Instagram-brukere deler innhold om ulike emner som dagligliv, mat, deres interesser og ferieturer. Brukere følger vanligvis estetiske normer som er definert av Instagram-brukere i fellesskap som kan referere til som Instagramisme. Brukernes praksis og aktiviteter på sosiale medier, inkludert Instagram, endres konstant og raskt, og derfor er det et konstant behov for forskning på dette feltet. Denne oppgaven undersøker turistbilder publisert fra tre spesifikke turistmål på Vestlandet av brukere på den sosiale medieplattformen Instagram. Denne masteroppgaven hjelper oss å forstå hvordan turistbilder fra Vestlandet som deles på Instagram påvirker andre Instagram-brukeres praksis og også hvorfor. Denne forskningen er basert på en kvalitativ innholdsanalysemetode og gjenomføres ved å gjøre en semiotisk analyse av 120 turistbilder på Instagram. Analysen er basert på Barthes sin semiotikkteori og dobbeltbegrepet studium og punctum. Nøkkelfunnene i denne forskningen er at elementer av virale bilder gradvis kommer inn i kommunikasjonsspråket som praktiseres i UGC knyttet til disse steder. Dessuten skaper brukere som besøker området en lignende presentasjon av stedet og seg selv slik dette forventes av dem, og dette hjelper dem med å få og opprettholde sosial og kulturell kapital. Videre fremhever brukerne sin norske identitet i disse bildene.Instagram is a popular platform for sharing visual content. Instagram users share content about various topics such as daily life, food, their interests, and their vacation. Users usually follow aesthetic norms which are defined by their community which can refer to as Instagramism. Users' practices and activities on social media, including Instagram, changes constantly and rapidly, and therefore there is a constant need for research in this field. This thesis investigates the tourist photographs published from three specific tourist destinations in the western part of Norway by users on the social media platform Instagram. This thesis helps us understand how tourist photographs from the western part of Norway shared on Instagram influence other Instagram users' practices and also why. This research is based on a qualitative content analysis method and is done by doing a semiotic analysis of 120 tourist photographs on Instagram. The analysis is based on Barthes's theory of semiotics and the dual concept of studium and punctum. The key findings of this research are that elements of photos that receive attention gradually enter the communication language that is practiced in UGC tied to these destinations. Moreover, users who visit the area create a similar presentation of the location and themselves as this is expected and helps them gain and maintain social and cultural capital. Furthermore, users emphasize their Norwegian identity in these photos