Watch Me) Play

Total Page:16

File Type:pdf, Size:1020Kb

Watch Me) Play Author Bianca Haun, BSc Submission Department of Work, Organizational and Media Psychology Thesis Supervisor Univ.-Prof. Dr. Bernad Batinic Assistant Thesis Supervisor Mag.a Fabiola Gattringer September 2016 LET’S (WATCH ME) PLAY Which factors relate to Let’s Play addiction? Master’s Thesis to confer the academic degree of Master of Science in the Master’s Program Web Science – Social Web. JOHANNES KEPLER UNIVERSITY LINZ Altenberger Str. 69 4040 Linz, Austria www.jku.at DVR 0093696 SWORN DECLARATION I hereby declare under oath that the submitted Master’s Thesis has been written solely by me without any third-party assistance, information other than provided sources or aids have not been used and those used have been fully documented. Sources for literal, paraphrased and cited quotes have been accurately credited. The submitted document here present is identical to the electronically submitted text document. Linz, September 1, 2016 September 8, 2016 Bianca Haun 2/75 Abstract With the growing popularity of Let’s Plays, the question arises if this phenomenon carries a similar addictive potential like playing video games or watching TV, as Let’s Plays pose a link between those two pastime activities. Video games, as a traditionally active medium, are transformed into a passive medium through the addition of spectatorship and live streams, whereas the passivity of watching a video or someone else play gets the added possibility of interaction and communication. In order to measure Let’s Play addiction, a Let’s Play Addiction Scale was developed by modifying Lemmens’, Valkenburg’s, and Peter’s (2009) Video Game Addiction Scale. The scale was then used to measure not only Let’s Play addiction but also TV addiction and video game addiction. Through the use of one basic scale, the different addiction potentials can be easily compared. An online survey among 369 participants who watched Let’s Plays in the last three months was conducted. Findings include the participants’ categorization into risk groups, viewers’ motivations for watching Let’s Plays and a viewers’ personality traits breakdown. While more time spent watching Let’s Plays correlates with a higher Let’s Play addiction score, Let’s Play usage alone is not necessarily a predictable indicator for Let’s Play addiction. Let’s Plays were found to pose a higher addiction potential than TV but a lower addiction potential than video games. The results are interpreted and discussed, and future research direction is suggested. Keywords: Let’s Play, Twitch, YouTube, Addiction, Gaming, TV, Games, Addiction Patterns, User Generated Content, Behavioural Addictions, Video Game Streaming September 8, 2016 Bianca Haun 3/75 Table of Contents Abstract ......................................................................................................................................... 3 1. Introduction ............................................................................................................................. 7 2. Let’s Plays .............................................................................................................................. 8 2.1. History and Development of TV ...................................................................................... 8 2.2. History and Development of Video Games ..................................................................... 9 2.3. History and Development of Let’s Plays ....................................................................... 10 2.4. Defining Let’s Plays ...................................................................................................... 12 2.5. Previous Literature about Let’s Plays ........................................................................... 13 2.6. Different Let’s Play Experiences ................................................................................... 14 2.6.1. Specific Types of Let’s Plays ............................................................................. 15 2.6.1.1. eSports ................................................................................................ 15 2.6.1.2. Speedruns ........................................................................................... 16 2.6.2. Let’s Plays on Different Platforms ...................................................................... 16 2.6.2.1. Twitch .................................................................................................. 16 2.6.2.2. YouTube ............................................................................................. 17 2.7. Let’s Play Game Genres ............................................................................................... 17 3. Theoretical Approach ............................................................................................................ 18 3.1. Addiction ....................................................................................................................... 18 3.1.1. TV Addiction ...................................................................................................... 19 3.1.2. Internet Addiction ............................................................................................... 20 3.1.3. Video Game Addiction ....................................................................................... 21 3.2. Personality .................................................................................................................... 24 4. Research Model and Hypotheses ......................................................................................... 25 4.1. Research Question and Model ..................................................................................... 25 4.2. Hypotheses ................................................................................................................... 26 5. Method .................................................................................................................................. 28 5.1. Participants and Procedure ........................................................................................... 28 5.2. Sample and Demographic Information ......................................................................... 29 5.3. Questionnaire and Measurement Scales ...................................................................... 30 5.4. Statistical Analysis ........................................................................................................ 36 6. Findings ................................................................................................................................ 36 6.1. Hypotheses Testing ...................................................................................................... 36 6.2. Further Findings ............................................................................................................ 42 6.2.1. Correlations ....................................................................................................... 42 6.2.2. Let’s Play Addiction Scale ................................................................................. 43 September 8, 2016 Bianca Haun 4/75 6.2.3. Categorization into Risk Groups ........................................................................ 44 6.2.4. Differences between Risk Groups ..................................................................... 45 6.2.5. Moderating Effects on LP addiction ................................................................... 47 6.2.6. Motivations ......................................................................................................... 49 6.2.7. Game Genres .................................................................................................... 53 6.2.8. Let’s Play Platforms ........................................................................................... 54 6.2.9. Let’s Play Watching Patterns ............................................................................. 55 6.2.10. Let’s Play Producers .......................................................................................... 58 7. Discussion and Conclusion ................................................................................................... 60 7.1. Addiction ....................................................................................................................... 60 7.1.1. Measuring Addiction .......................................................................................... 60 7.1.2. Addiction Correlations ........................................................................................ 61 7.1.3. Let’s Play Usage Pattern ................................................................................... 62 7.1.4. Predictors for Let’s Play Addiction ..................................................................... 63 7.1.5. Watching Patterns ............................................................................................. 64 7.2. Motivations .................................................................................................................... 64 7.3. Game Genres ............................................................................................................... 65 7.4. Let’s Play Producer vs. Non-Producer Comparison ..................................................... 65 7.5. An Average Let’s Play Streamer Profile ........................................................................ 66 8. Limitations and Suggestions for Future Research ...............................................................
Recommended publications
  • Youtube Comments As Media Heritage
    YouTube comments as media heritage Acquisition, preservation and use cases for YouTube comments as media heritage records at The Netherlands Institute for Sound and Vision Archival studies (UvA) internship report by Jack O’Carroll YOUTUBE COMMENTS AS MEDIA HERITAGE Contents Introduction 4 Overview 4 Research question 4 Methods 4 Approach 5 Scope 5 Significance of this project 6 Chapter 1: Background 7 The Netherlands Institute for Sound and Vision 7 Web video collection at Sound and Vision 8 YouTube 9 YouTube comments 9 Comments as archival records 10 Chapter 2: Comments as audience reception 12 Audience reception theory 12 Literature review: Audience reception and social media 13 Conclusion 15 Chapter 3: Acquisition of comments via the YouTube API 16 YouTube’s Data API 16 Acquisition of comments via the YouTube API 17 YouTube API quotas 17 Calculating quota for full web video collection 18 Updating comments collection 19 Distributed archiving with YouTube API case study 19 Collecting 1.4 billion YouTube annotations 19 Conclusions 20 Chapter 4: YouTube comments within FRBR-style Sound and Vision information model 21 FRBR at Sound and Vision 21 YouTube comments 25 YouTube comments as derivative and aggregate works 25 Alternative approaches 26 Option 1: Collect comments and treat them as analogue for the time being 26 Option 2: CLARIAH Media Suite 27 Option 3: Host using an open third party 28 Chapter 5: Discussion 29 Conclusions summary 29 Discussion: Issue of use cases 29 Possible use cases 30 Audience reception use case 30 2 YOUTUBE
    [Show full text]
  • Youtube 1 Youtube
    YouTube 1 YouTube YouTube, LLC Type Subsidiary, limited liability company Founded February 2005 Founder Steve Chen Chad Hurley Jawed Karim Headquarters 901 Cherry Ave, San Bruno, California, United States Area served Worldwide Key people Salar Kamangar, CEO Chad Hurley, Advisor Owner Independent (2005–2006) Google Inc. (2006–present) Slogan Broadcast Yourself Website [youtube.com youtube.com] (see list of localized domain names) [1] Alexa rank 3 (February 2011) Type of site video hosting service Advertising Google AdSense Registration Optional (Only required for certain tasks such as viewing flagged videos, viewing flagged comments and uploading videos) [2] Available in 34 languages available through user interface Launched February 14, 2005 Current status Active YouTube is a video-sharing website on which users can upload, share, and view videos, created by three former PayPal employees in February 2005.[3] The company is based in San Bruno, California, and uses Adobe Flash Video and HTML5[4] technology to display a wide variety of user-generated video content, including movie clips, TV clips, and music videos, as well as amateur content such as video blogging and short original videos. Most of the content on YouTube has been uploaded by individuals, although media corporations including CBS, BBC, Vevo, Hulu and other organizations offer some of their material via the site, as part of the YouTube partnership program.[5] Unregistered users may watch videos, and registered users may upload an unlimited number of videos. Videos that are considered to contain potentially offensive content are available only to registered users 18 years old and older. In November 2006, YouTube, LLC was bought by Google Inc.
    [Show full text]
  • Looking At, Through, and with Youtube Paul A
    Santa Clara University Scholar Commons Communication College of Arts & Sciences 2014 Looking at, through, and with YouTube Paul A. Soukup Santa Clara University, [email protected] Follow this and additional works at: https://scholarcommons.scu.edu/comm Part of the Communication Commons Recommended Citation Soukup, Paul A. (2014). Looking at, through, and with YouTube. Communication Research Trends, 33(3), 3-34. CRT allows the authors to retain copyright. This Article is brought to you for free and open access by the College of Arts & Sciences at Scholar Commons. It has been accepted for inclusion in Communication by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Looking at, with, and through YouTube™ Paul A. Soukup, S.J. [email protected] 1. Looking at YouTube Begun in 2004, YouTube rapidly grew as a digi- history and a simple explanation of how the platform tal video site achieving 98.8 million viewers in the works.) YouTube was not the first attempt to manage United States watching 5.3 billion videos by early 2009 online video. One of the first, shareyourworld.com (Jarboe, 2009, p. xxii). Within a year of its founding, begin 1997, but failed, probably due to immature tech- Google purchased the platform. Succeeding far beyond nology (Woog, 2009, pp. 9–10). In 2000 Singingfish what and where other video sharing sites had attempt- appeared as a public site acquired by Thompson ed, YouTube soon held a dominant position as a Web Multimedia. Further acquired by AOL in 2003, it even- 2.0 anchor (Jarboe, 2009, pp.
    [Show full text]
  • Can We Save Video Game Journalism? Can Grass Roots Media Contribute with a More Critical Perspective to Contemporary Video Game Coverage?
    Fall 08 Can We Save Video Game Journalism? Can grass roots media contribute with a more critical perspective to contemporary video game coverage? Author: Alejandro Soler Supervisor: Patrick Prax MASTERS THESIS: TWO YEARS MASTERS THESIS | DEPARTMENT OF INFORMATICS AND MEDIA | MEDIA & COMMUNICATION STUDIES UPPSALA UNIVERSITY | SPRING 2014 Abstract Video game journalism has been accused for lack in journalistic legitimacy for decades. The historical relation between video game journalists and video game publishers has always been problematic from an objective point of view, as publishers have the power to govern and dictate journalistic coverage by withdrawing financial funding and review material. This has consequently lead to lack in journalistic legitimacy when it comes to video game coverage. However, as the grass roots media movement gained popularity and attention in the mid 2000s, a new more direct and personal way of coverage became evident. Nowadays, grass roots media producers operate within the same field of practice as traditional journalists and the difference between entertainment and journalism has become harder than ever to distinguish. The aim of this master thesis is to discover if grass roots media is more critical than traditional video game journalism regarding industry coverage. The study combines Communication Power theory, Web 2.0 and Convergence Culture, as well as Alternative Media and Participatory Journalistic theory, to create an interdisciplinary theoretical framework. The theoretical framework also guides our choice in methodology as a grounded theory study, where the aim of analysis is to present or discover a new theory or present propositions grounded in our analysis. To reach this methodological goal, 10 different grass roots media producers were interviewed at 6 different occasions.
    [Show full text]
  • Exploring Informal Archival Practices
    35 Susan Aasman Finding Traces in YouTube’s Living Archive: Exploring Informal Archival Practices Abstract This article addresses the challenges that media historians face when they aim to reconstruct the early history of YouTube. Since the platform is constantly adapting its policies, there is a great level of uncertainty as to what is still there or what is no longer traceable. Therefore, addressing the question if and/or how YouTube can be understood as an archive is crucial and, in addition, the issue of how YouTube related content can be used as historical sources. Although many people, including media scholars, treat YouTube like an online open access archive, there are reasons to be cautious. The article will explore strategies dealing with formal but also with informal web archival practices. These informal archival practices concern users who curate early YouTube videos, user profiles and comments or even old layout versions of the website. Developing methods that critically acknowledges user-generated archival prac- tices, and uses the insights of early generation of users’ reconstructions of the platform’s his- tory, even if it might seem anecdotal evidence, can lead to deeper knowledge of that early community. By actively participating in reconstructing YouTube’s recent past these users shape nostalgic narratives while they also collect and share useful information that guide historians finding new traces. KEYWORDS: YouTube history, web archaeology, digital archives, amateur, informal archival practices On April 23, 2005 the first video ever on YouTube was uploaded by Jawed Karim, one of the founders of the website. During that year, ‘Jawed’, as his username was, would upload some sixty more video clips.
    [Show full text]
  • Youtube Creators Forum
    WMHSMUN XXXIV YouTube Creators Forum Background Guide “Unprecedented committees. Unparalleled debate. Unmatched fun.” Letter From the Director Dear Delegates, My name is Sam Clark, and I have the honor of directing the YouTube Creators Forum for WMHSMUN XXXIV. I can’t wait to work with you all this fall, and I’m excited to see the direction you take our committee in, as I know it’ll be engaging and fun. Let me start by saying I’ve been on YouTube for as long as I can remember and observing how this platform has shaped the world of social media has fascinated me for a while. So needless to say, being able to dive into the international politics of YouTube is incredibly fun for me, and hopefully we can make it just as fun for you. As for my background, I’m a junior at William and Mary from a small town called Cranford, New Jersey. So far, I’ve been involved with every conference we’ve had here in my time at the university, but I also study English and Hispanic Studies. That’s right, you don’t have to be a government or international relations major to like MUN! Though I only did it a little bit in high school, I’ve found a renewed interest for it in college. In my free time, however, I like to game, write, watch films, and explore YouTube. YouTube has been a part of my weekly routine ever since I could access a computer. I became a part of the earliest communities and fandoms, and as the platform evolved, so did my interests and subscriptions.
    [Show full text]
  • Youtube'n 2009
    October 21, YOUTUBE'N 2009 10/21/2009 BCIT YOUTUBE'N Intro to YouTube | Talbot, Ungaro, Rogers October 21, YOUTUBE'N 2009 Attribution Contents Wikinews has News related to this article: .......................................................................................................................... 6 Company history ................................................................................................................................................................... 7 Main article: History of YouTube ...................................................................................................................................... 7 Social impact ......................................................................................................................................................................... 8 Main article: Social impact of YouTube ............................................................................................................................ 8 Criticism ................................................................................................................................................................................ 9 Main article: Criticism of YouTube ................................................................................................................................... 9 Privacy................................................................................................................................................................................. 10
    [Show full text]
  • Universidad Nacional Daniel Alcides Carrión Tesis
    1 UNIVERSIDAD NACIONAL DANIEL ALCIDES CARRIÓN FACULTAD DE CIENCIAS DE LA COMUNICACIÓN ESCUELA DE FORMACIÓN PROFESIONAL DE CIENCIAS DE LA COMUNICACIÓN “LAS REDES SOCIALES Y SU INFLUENCIA EN LAS ELECCIONES MUNICIPALES EN LA POBLACIÓN URBANA – DISTRITO DE YANACANCHA 2014” TESIS PARA OPTAR EL TÍTULO PROFESIONAL DE: LICENCIADO EN CIENCIAS DE LA COMUNICACIÓN PRESENTADO POR: Bachiller SOLORZANO ZÚÑIGA, Nidia Lisset Bachiller CAPCHA RICAPA, Saraí Magdalena Cerro de Pasco – Perú – 2018 1 2 DEDICATORIA DEDICAMOS ESTE TRABAJO A NUESTROS PADRES QUE TANTO ESFUERZO EN CONJUNTO SIEMPRE ESTUVIERON CERCA DE NOSOTROS, DE LA MISMA FORMA A NUESTROS MAESTROS QUE FORMARON PARTE DE NUESTRA CARRERA PROFESIONAL SARAI - NIDIA 2 3 ÍNDICE DEDICATORIA ÍNDICE INTRODUCCIÓN CAPÍTULO I 1. PLANTEAMIENTO DEL PROBLEMA 10 1.1. IDENTIFICACIÓN Y DETERMINACIÓN DEL PROBLEMA 10 1.2. FORMULACIÓN DEL PROBLEMA 16 1.2.1. PROBLEMA GENERAL 16 1.2.2. PROBLEMAS ESPECÍFICO 16 1.3. OBJETIVOS 17 1.3.1. OBJETIVO GENERAL 17 1.3.2. OBJETIVOS ESPECÍFICOS 17 1.4. JUSTIFICACIÓN DEL PROBLEMA 18 1.4.1. IMPORTANCIA DE LA INVESTIGACIÓN 18 1.4.2. ALCANCE DE LA INVESTIGACIÓN 20 CAPÍTULO II 2. MARCO TEÓRICO 21 2.1. ANTECEDENTES DEL PROBLEMA 21 2.2. BASES TEÓRICAS CIENTIFICAS 35 USUARIOS JÓVENES 35 COMUNIDAD EN LINEA 36 CARACTERÍSTICAS DE LA WEB 41 3 4 CREACIÓN DE NUEVAS REDES DE COLABORACIÓN 42 USUARIOS 43 ROLO DEL PROSUMIDOR 43 HERRAMIENTAS 44 IMPORTANCIA DE LAS HERRAMIENTAS 44 REDES SOCIALES 46 REDES SOCIALES MÁS CONOCIDAS 46 2.3. DEFINICIÓN DE TÉRMINOS BÁSICOS 48 REDES SOCIALES 48 LA BOLA DE NIEVE 50 GERMÁN TREJO 51 INTERNET 53 FACEBOOK 53 TWITTER 54 REDES 55 YOU TUBE 56 REDES SOCIALES 56 COMUNICACIÓN POLÍTICA 57 CAMPAÑA ELECTORAL 57 MARKETING VIRAL 58 PROSELITISMO 58 DEMOCRACIA 59 4 5 ELECCIONES 59 OPINIÓN PÚBLICA 59 CAPÍTULO III 3.
    [Show full text]
  • Fomento De La Recepción Crítica En Niños Ante El Consumo De Retos
    Fomento de la recepción crítica en niños de nueve a once años ante el consumo de videos de retos peligrosos en YouTube Fomento de la recepción crítica en niños de nueve a once años ante el consumo de videos de retos peligrosos en YouTube Tesis para obtener el grado de: Maestros en Diseño, Información y Comunicación PRESENTADA POR: Jeniffer Cruz Vera Alejandro Reyes García Gadi Reyna Miranda Alejandro Rosales Martínez COMITÉ TUTORAL: Dra. Dina Rochman Beer Mtra. Gabriela Ramírez de la Rosa Dra. Margarita Espinosa Meneses LECTOR INTERNO: Mtro. Luis Antonio Rivera Díaz LECTOR EXTERNO: Dr. Marco Antonio González Pérez Ciudad de México, 2020 Agradecimientos Al Consejo Nacional de Ciencia y Tecnología (CONACyT), cuyos apoyos resultaron esenciales para el desarrollo de este proyecto. A la Universidad Autónoma Metropolitana y la Maestría en Diseño, Infor- mación y Comunicación, por brindar todas las facilidades y soporte que nos permitieron llevar a cabo esta investigación. A los directores de las escuelas que participaron en esta investigación. Su apoyo, confianza, disposición y cooperación fueron admirables y fundamentales a lo largo de todo el proyecto. A las directoras del Insti- tuto Rosner, de la escuela José Luis Vieyra González, turno matutino, de la escuela Maestros de México; al director del Colegio Vincent Van Gogh y al subdirector de la escuela Maestros de México. A nuestras asesoras: la Mtra. Gabriela Ramírez de la Rosa, la Dra. Mar- garita Espinosa Meneses y la Dra. Dina Rochman Beer, quienes pusie- ron tanto trabajo, esfuerzo y dedicación como nosotros. Este proyecto es tan nuestro como de ellas. A nuestros lectores, el Mtro.
    [Show full text]
  • The Cultural Logic of Digital Intermediaries: Youtube Multichannel Networks', Convergence, Vol
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by RMIT Research Repository Thank you for downloading this document from the RMIT Research Repository. The RMIT Research Repository is an open access database showcasing the research outputs of RMIT University researchers. RMIT Research Repository: http://researchbank.rmit.edu.au/ Citation: Lobato, R 2016, 'The cultural logic of digital intermediaries: YouTube multichannel networks', Convergence, vol. 22, no. 4, pp. 348-360. 6HHWKLVUHFRUGLQWKH50,75HVHDUFK5HSRVLWRU\DW https://researchbank.rmit.edu.au/view/rmit:39547 9HUVLRQ Published Version &RS\ULJKW6WDWHPHQW The Author(s) 2016 /LQNWR3XEOLVKHG9HUVLRQ http://dx.doi.org/10.1177/1354856516641628 PLEASE DO NOT REMOVE THIS PAGE Article Convergence: The International Journal of Research into The cultural logic of digital New Media Technologies 2016, Vol. 22(4) 348–360 ª The Author(s) 2016 intermediaries: YouTube Reprints and permission: sagepub.co.uk/journalsPermissions.nav multichannel networks DOI: 10.1177/1354856516641628 con.sagepub.com Ramon Lobato Swinburne University of Technology, Australia Abstract How has YouTube evolved as a cultural and commercial infrastructure? What institutional forms has it produced? The present article takes up these questions through a discussion of multichannel networks (MCNs) and their role within the digital video system. MCNs are a new breed of intermediary firm that link entrepreneurial YouTubers with the advertising, marketing and screen production industries. This article considers the functions of MCNs vis-a`-vis the existing con- stellation of screen industry professions, including talent agents, managers and media buyers, who perform similar functions offline. Combining structural analysis of the MCN industry with an assessment of its cultural impacts, I show how Google’s decision to open the YouTube back-end to third-party intermediaries is subtly changing the digital video ecology.
    [Show full text]
  • Rebooting Youtube | Fast Company | Business + Innovation 8/4/14, 6:01 PM
    Rebooting YouTube | Fast Company | Business + Innovation 8/4/14, 6:01 PM Rebooting YouTube When Susan Wojcicki took over YouTube in February, she received almost as much unsolicited advice as there are YouTube videos. One open letter not-so-subtly pleaded with Wojcicki, "So please, I'm begging you, please, please, please, don't f*** it up." "There were lots of letters, public letters," says Wojcicki when we meet in her office in mid-June at YouTube's San Bruno, California, headquarters. "'Open Letter to Susan Wojcicki.' 'Do These Five Things.' There were videos from creators." Even her family got in on the act. "My mom is a high school teacher, so she would tell me, 'Oh, the students liked the video you posted today. Oh, the students didn't like the video that you posted today.' As though I, personally, posted a video!" she says, laughing. Her four kids gave her a YouTube crash course. "I was just starting to get to know a lot of these videos, and they'd be like, 'Oh, no, Mom. That video came out like six months ago.' And then they would go on about the whole backstory of this content and this creator. I didn't know how much time they were spending watching YouTube." The ambush of advice was, she admits in her amiable way, "a little overwhelming." Wojcicki, 46, is a consummate insider​--she's Google employee No. 16--and a publicity deflector who isn't used to being in direct communication with a fan base as vocal and passionate as YouTube's.
    [Show full text]
  • Tesis Completa
    UNIVERSIDAD CATÓLICA SEDES SAPIENTIAE ESCUELA DE POSTGRADO La Plataforma YouTube como recurso didáctico en el aprendizaje del curso de Introducción a la Ingeniería Industrial en estudiantes del primer ciclo de la Facultad de Ingeniería de la Universidad Católica Sedes Sapientiae, 2018 TESIS PARA OPTAR AL GRADO ACADÉMICO DE MAESTRO EN GESTIÓN E INNOVACIÓN EDUCATIVA AUTOR Sergio Alberto Sandoval Lozano ASESOR William Jesús Rojas Gutiérrez Lima, Perú 2020 ii DEDICATORIA Dedico este trabajo principalmente a Dios, por darme fuerzas para poder obtener uno de los anhelos más deseados. A mis padres por inculcar en mí el ejemplo de honradez y esfuerzo, de no temer a la adversidad porque Dios está siempre conmigo. A mi esposa e hijos por su paciencia y confiar siempre en mí. A mis hermanos por estar siempre presentes dándome su apoyo y acompañándome en todos mis sueños y metas. A mis compañeros y amigos presentes quienes sin esperar nada a cambio compartieron su experiencia y estuvieron apoyándome y lograr que este sueño se convierta en realidad. “Hay una fuerza motriz más poderosa que el vapor, la electricidad y la energía atómica: La voluntad” (Albert Einstein) iii AGRADECIMIENTO A Dios por bendecirnos la vida, por guiarnos a lo largo de nuestra existencia siendo el apoyo y fortaleza que necesitamos en momentos de dificultad. A la universidad y autoridades por brindar su apoyo y confiar en mí al permitirme realizar todo el proceso investigativo dentro de sus instalaciones para encaminar este trabajo y culminar la tesis. Al Magister, William Jesús Rojas Gutiérrez por su valor humano, orientación y disciplina durante el tiempo de elaboración de este trabajo, y haber compartido sus conocimientos a lo largo de las asesorías.
    [Show full text]