Multimedia communications

Games, and especially video games are fast becoming the most pervasive media form, and live streaming games is fast becoming the most pervasive way of experiencing those games. This thesis looks at the history of broadcast, the practices of technological hobbyists, the social and technological aspect of games, gaming communities that transform game narratives, and gaming communities that transform political narratives. It demonstrates how the study of video game live streaming can be used as a model to study and analyze the production, consumption, and reciprocal relationship between the producers and consumers of media.

Author Keywords: Bill Gates is the Devil, Broadcast, Gaming, Ham Radio, Live Streaming, Video Game Live Streaming

The purpose of this research is to highlight the limitations and opportunities for playful expression of gender identity in character creation systems of virtual worlds, and how these might work to reinforce, or disrupt, the heteronormative imperative. The primary sites considered in this analysis are the video game World of Warcraft and the live action role-playing game Amtgard. I provide evidence that while the World of Warcraft's character creation system is sexist and works to reinforce heteronormative ideology, Amtgard's relatively ambiguous design provides opportunity for disruption of these norms. Participant research with Amtgard players demonstrates actual instances of Amtgard's more flexible character creation system being utilized in expression and exploration of gender identity which resists the heteronormative imperative. Based on this, I call on game developers to reject designs which necessitate selection of gender from within the traditional binary and embrace more ambiguous design in development of character creation systems.

Author Keywords: Avatars, Game Design, Games, Gender, Identity, Virtual Worlds

This three-part history explores Web 2.0's ability to make music products a collaborative, ongoing creative process that is reflective of early twentieth century live-music publics, where the realization of a performance was actualized by performers together with their audience in a shared physical space. By extension, I follow the changing dynamic of the producer/consumer relationship as they transitioned through different media and formats that altered their respective roles in music making. This study considers the role that rock ideology, specifically that of the 'indie-rock' habitus, plays in shaping both a rock artist's desired image and a fan-base's expectations. How rock musicians use the internet reveals their own views on authenticity in recorded music and the extent to which they are willing to participate in a public with their audience. Primary case studies used are: Neil Young, Dave Bidini, Beck Hansen and Joel Plaskett.

Keywords: popular music; indie-rock; Web 2.0; rock music collaboration; fan participation; publics; authenticity; habitus; Neil Young; Dave Bidini; Beck Hansen; Joel Plaskett; Song Reader; Scrappy Happiness; Canadian music

Author Keywords: authenticity, fan participation, indie-rock habitus, popular music, rock music collaboration, Web 2.0