Ardevol TL Kitf

Project Acronym: TRANSLITERACY
Project Full Title: TRANSMEDIA LITERACY. Exploiting transmedia skills and

informal learning strategies to improve formal education
Call Identifier: H2020-ICT-2014/H2020-ICT-2014-1
Grant Agreement: 645238
Type of action: RIA
Project Duration: 36 months
Starting Date: 01/04/2015
D2.2. – Kit for Field Researchers
Deliverable status: Final

File Name: D2.2_kit_field_researchers.pdf
Due Date: December 2015
Submission Date: January 2016 (Upgraded March 2017)
Dissemination Level: Public
Task Leader: UOC
Author: Elisenda Ardèvol (eardevol@uoc.edu)
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Transmedia Literacy –Deliverable 2.2 – Kit for Field Researchers
The TRANSLITERACY project consortium is composed of:
UPF Universitat Pompeu Fabra Spain

UOC Fundació per a la Universitat Oberta de Catalunya Spain
UOXF The Chancellor, Masters and Scholars of the University of UK
Oxford
JYU Jyväskylän Yliopisto Finland
UMINHO Universidade do Minho Portugal
UdelaR Universidad de la República Uruguay
PUJ Pontificia Universidad Javeriana Colombia
UNITO Università degli Studi di Torino Italy
ARS MEDIA Ars Media SRL Italy
RMIT University (Australia) participates in the research but it is not a beneficiary of the
TRANSLITERACY Project.
Summary
Following the research design outlined in the DoA, the principal outcomes of the
methodological strategy are two research toolkits (both of them included in D2.2- Kit
for field Researchers): the Fieldwork Toolkit, and the Analytical Toolkit. Both toolkits
were tailored as ad hoc internal instruments to guide TRANSLITERACY researchers
through data collection and analysis. They were refined throughout the research
process itself and are internal work-in-progress documents of the Action plan.
In fact, the Analytical Toolkit is still a work in progress (March, 2017), as the analytical
process has not been finished yet. Therefore, this report only shows the main outline
of this second toolkit as it is currently being developed. Previous to these two research
toolkits, we developed the Ethical Kit, containing the protocols and procedures for
obtaining the informed consents from schools, parents and teenagers that permitted
us to undertake fieldwork.
For more information regarding the methodological process of the project, consult
D.2.1 - Methodological Internal Report.
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Transmedia Literacy –Deliverable 2.2 – Kit for Field Researchers
This is the content of D2.2 - Kit for field researchers:
Kit area Content

FIELDWORK  Questionnaire…………………………………………............p.4
TOOLKIT  Participatory Culture Workshop Protocol………...p.22
 Videogames Workshop Protocol……………………...p.35
 Interview Protocol and Script…………………………..p.54
 Media Diary………………………………………………….....p.62
ANALYTICAL PART I:
TOOLKIT  Data processing and codification Protocol I……..p.64
 Appendix - Descriptive categories …………………..p.90
PART II:
 Netgraphy Protocol………………………………………….p.97
 Data processing and codification Protocol II: Matrix Coding
Query’ (not included in D2.2 - To be finished in April 2017 – for
more information see D.2.1.)
The TRANSMEDIA LITERACY Project has received funding from the European Union’s
Horizon 2020 Research and Innovation Programme under Grant Agreement No 645238
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FIELDWORK TOOLKIT
QUESTIONNAIRE PROTOCOL

Type of action: RIA
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Questionnaire
For any inquiries regarding the questionnaire1, please contact Maria-Jose Masanet (mjose.masanet@upf.edu).
Description and Objectives
During the first stage of the investigation, participants will fill in a questionnaire that will be administered and collected by the researchers
in the classroom. This activity will be performed at the participating schools during class hours and will take over an hour to complete.
The objective of the questionnaire is to obtain descriptive statistical inputs to map the sociological and demographic characteristics of the
teens that participate in the study, and general issues regarding media use and self-perceptions on media practices and creativity.
It is also the first stage of the research and it will allow teens to decide if they want to pursue other research stages.
Sample: The questionnaire will be administered to two classes/groups (different grades/years) of two schools from each of the participating
countries (2 classes/groups x 2 schools x 8 countries).
Research Protocol
- Questionnaire (Word Document Questionnaire) administration will take place at the educational centre during the class hours the centre
management deems convenient.
- The average time to fill in the questionnaire is less than an hour, but it is recommended having a complete hour in advance to explain
the activity to the participants thoroughly, and be able to answer questions.
- Copies of the questionnaire translated to all the official languages in the territory should be brought to the educational centre. It is
convenient that each country adapts the wording to its context and teenagers’ comprehension.
1
According to the P.O and reviewers' suggestions, we have revised the English version of the questionnaire.
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Guidelines for questionnaire administration:

1) Questionnaires will only be administered to those participants who have previously signed the informed consent form and whose
father/mother/guardian also has signed it.
2) Before distributing the questionnaires, researchers should explain the activity to the participants and emphasize the following bullet
points:
 It is a study in which researchers want to learn from teenagers. Researchers are keen to know what participants think about the topics
featured in the questionnaire.
 This is not an exam, there are not right or wrong answers.
 If the participants have any questions to make, they can ask anytime.
 If the participants do not want to answer to some questions, they are not forced to do so.
3) Questionnaires must be filled in individually.
4) Researchers should be available to participants in case they need any clarification.
5) Questionnaires are administered in paper format:
 Questionnaires are distributed to the participants.

 Any questions from the participants must be answered.
 Questionnaires must be collected when they have been completed.
Questionnaires with personal data must be locked up and can only be accessed by authorized researchers.
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Data Treatment Protocol

Treatment of the questionnaire data follows a series of orderly steps:
1) Questionnaires must be anonymised assigning an indefinite numeric code to each one of them (see Questionnaire Data Codification
document).
2) At the same time, participants are anonymised in an Excel document submitted to all the researchers in the project (Anonymisation).
This Excel table only consists of the participant’s name (Name column) and the previously assigned numeric code (Code column). This
table must be kept in a safe place. See Image 1.
Image 1: Screenshot. Excel table with participants’ anonymisation.
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3) Once anonymised with their correspondent numeric code, all data will be combined in an Excel database. This database
(Data_Questionnaire) will be submitted to all the partners in the project. See Image 2 and 3.
Image 2: Screenshot. Questionnaire database with two given examples.

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Image 3: Screenshot. Questionnaire database with two given examples.
Questionnaire data is introduced in the database following the questionnaire codification handbook (Questionnaire_Data_Codification
document). In this document, all questions have been codified with a number so that all countries can work with the same database.
4) All partners will submit their Excel databases (Data_Questionnaire) to Universitat Pompeu Fabra through the secure server specifically
created for this project. Submitted data must be completely anonymised.
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UNIVERSITY LOGO
INFORMATION
Thank you for participating in this study funded by the European Union (Horizon 2020-Research
and Innovation Action).
All the information collected from this questionnaire will be kept confidential.
The estimated time to complete the questionnaire is 30 minutes.
TO BE COMPLETED BY THE RESERCHER - Code
COUNTRY SCHOOL CLASS PARTICIPANT
DEMOGRAPHIC DATA
0. Name and surname
1. School
2. Course
3. Age
4. Place of Birth (City and Country)
5. Place of residence (City and

Country)
6. Gender ☐ Male ☐ Female
7. Who do you live with? ☐ Mother ☐ Father ☐Brother/s and/or sister/s

(You can mark several options) ☐ Other relatives ☐Other situations
☐ None ☐ Primary education

8. Father’s studies
☐ Secondary education ☐ Higher education
☐ None ☐ Primary education

9. Mother’s studies
☐ Secondary education ☐ Higher education
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ACTIVITIES AND MEDIA USES

ACTIVITIES AND FREE TIME
10. Do you do any extracurricular activities or have any ☐ Yes ☐ No
hobbies?
11. Which ones?
MEDIA USES
12. Which devices/media are ☐ TV ☐ DVD ☐ MP3/MP4/iPod, etc
there in your house? ☐ Desktop computer ☐ Laptop
(You can mark several options)
☐ Mobile phone ☐ Tablet ☐ Wi-Fi
☐ Game console (Wii, Play Station, etc.)
☐ Handheld game console (PSP, etc.)
☐ Video camera ☐ Photo camera
☐ Radio ☐ Others ___________________________
13. Which devices/media do you ☐ TV ☐ DVD ☐ MP3/MP4/iPod, etc

regularly use? ☐ Desktop computer ☐ Laptop
☐ Mobile phone ☐ Tablet ☐ Wi-Fi
☐ Game console (Wii, Play Station, etc.)
☐ Handheld game console (PSP, etc.)
☐ Video camera ☐ Photo camera
☐ Radio ☐ Others ___________________________
14. Which programmes do you ☐ Word/Office

regularly use? ☐ Photo editing ☐ Video editing
☐ Website/Blog editing ☐ Drawing
☐ Music Production ☐ Programming
☐ Script or writing (Wattpad)
☐ Others __________________________
15. Which social media platforms ☐ Facebook ☐ Twitter ☐ Instagram

do you regularly use? ☐ Forums/Blogs ☐ Whatsapp ☐ Snapchat
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(You can mark several options) ☐ YouTube ☐ Others_____________________
Indicate the time spent on each of these activities:

(1 = never / 2 = less than twice a month / 3 = at least twice a month / 4 = at least twice a week
/ 5 = everyday)
16. I watch TV… 1 2 3 4 5
17. I watch movies or series online… 1 2 3 4 5
18. I play videogames... 1 2 3 4 5
19. I play board games... 1 2 3 4 5
20. I listen to the radio… 1 2 3 4 5
21. I use a computer to do my homework... 1 2 3 4 5
22. I read print magazines or newspapers… 1 2 3 4 5
23. I read books… 1 2 3 4 5
24. I read comics… 1 2 3 4 5
25. I go to the cinema… 1 2 3 4 5
26. I use social media… 1 2 3 4 5
27. I use email… 1 2 3 4 5
28. I participate in blogs, websites, fan forums… 1 2 3 4 5
WAYS OF DOING
Show your level of agreement or disagreement with the following statements:
(1 is “totally disagree”  and 5 is “strongly agree” )
29. When I get home, I like to turn on the TV to see what is on... 1 2 3 4 5
30. When I can, I look up my favourite TV series on the Internet… 1 2 3 4 5
31. I like watching YouTube channels 1 2 3 4 5
32. I like making my own playlists online… 1 2 3 4 5

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33. I search for songs/movies I like and I download them… 1 2 3 4 5
34. I like playing videogames with friends online… 1 2 3 4 5
35. When I go to a friend's house, we usually watch some videos… 1 2 3 4 5
36. When I go to a friend's house, we usually play videogames… 1 2 3 4 5
37. When I go to a friend's house, we usually watch some TV series… 1 2 3 4 5
38. When I go to a friend's house, we usually make a video… 1 2 3 4 5
39. I like a movie so I look for the books, videogames, and music that
1 2 3 4 5
come with it…
40. I search for gameplay videos of my favourite videogames… 1 2 3 4 5
41. I like making videos and sharing them… 1 2 3 4 5
42. When I like something I make comments on social media… 1 2 3 4 5
43. When I like something I send it to my friends… 1 2 3 4 5
44. I like taking pictures and sharing them online… 1 2 3 4 5
45. I like to have many followers on social media (Instagram,

1 2 3 4 5
Facebook, etc.)...
46. I like writing fanfiction of my favourite TV series, movies and

1 2 3 4 5
comics…
47. I like cosplaying... 1 2 3 4 5
48. I like to buy things from my favourite TV series (posters, t-shirts,

1 2 3 4 5
etc.)…
49. I enjoy telling stories of my favourite characters… 1 2 3 4 5
50. I like creating stories, games, making tutorials… 1 2 3 4 5
51. I pay attention to details in a movie (scenes, colours, the making

1 2 3 4 5
off, etc.)…
52. When I want to know how to do something, I look up videos on the

1 2 3 4 5
Internet (tutorials)…
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Show your level of agreement or disagreement with the following statements:

(1 is “strongly disagree”  and 5 is “strongly agree” )
53. My parents let me go online whenever I want 1 2 3 4 5
54. It bothers me when my parents check my mobile phone 1 2 3 4 5
55. It bothers me when my friends check my mobile phone 1 2 3 4 5
56. My parents follow me on social media 1 2 3 4 5
57. I turn off my mobile phone when I am doing my homework 1 2 3 4 5
58. I think twice before sharing a picture of me 1 2 3 4 5
59. It bothers me that my friends share pictures of me without asking

1 2 3 4 5
me first
60. I think about the impact me sharing my videos (own creation) can
1 2 3 4 5
have
61. I constantly check my phone to see if I have any notifications on

1 2 3 4 5
my social media
62. I'm afraid that someone might log onto my social media accounts 1 2 3 4 5
63. I accept all friend requests on social media 1 2 3 4 5
64. Looking at the (mobile/television/laptop/tablet) screen too long can

1 2 3 4 5
have negative effects on my health (memory, eyesight, etc.)
65. There are some websites where I participate either anonymously

1 2 3 4 5
or under a nickname
66. My parents criticise the music I listen to 1 2 3 4 5
67. My friends get angry if I don't read their messages immediately 1 2 3 4 5
68. I'm worried about what people say about me on social media 1 2 3 4 5
69. I like being always online 1 2 3 4 5

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OPEN QUESTIONS
70. What interests me most about the Internet is…
71. When I go online, the first thing I do is…
72. What interests me most about YouTube is…
73. What I have learnt from browsing the Internet is...
74. What bothers me most about the Internet is…
75. What I like to do on the Internet is…
76. My favourite videogames are…
77. From social media I have learnt…
78. Is there anything else you want to say?
79. Would you like to keep participating in this study? ☐ Yes ☐ No
Show your degree of preference to participate in activities related to the topics below (1 is
"nothing" and 5 is "very much"):
80. Series, comics, manga, fanfiction, YouTube... 1 2 3 4 5
81. Videogames, machinima... 1 2 3 4 5
THANKS! 
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TRANSLITERACY QUESTIONNAIRE CODIFICATION
Code_ Country: Q 5 (City): 16 – Mother, Father,

10 – Spain Open-ended Siblings & Other relatives
20 – Portugal 99 – DK/NA
30 – Italy Q 5 (Country)**:
40 – Finland 1 – Country where the Q 8 (Studies):
50 – England questionnaire was 1 – None
60 – Australia administered 2 – Primary
70 – Uruguay 2 – Europa 3 – Secondary
80 - Colombia 3 – Central America 4 – Higher
99 – DK/NA 4 – South America 99 – DK/NA
5 – North America
Code_School: 6 – Asia Q 9 (Studies):
1 – School name 7 – Africa 1 – None
2– 8 – Oceania 2 – Primary
3– 99 – DK/NA 3 – Secondary
4 – Higher
Code_Class: Q 6 (Gender): 99 – DK/NA
1 – 2 ESO 1 – Male
2 – 1 BAT 2 – Female Q 10 (Activities):
3 – Grade/Year 99 – NK/NA 0 – No
1 – Yes
Code_Participant: Q 7 (Family): 99 – DK/NA
Indefinite - 001/002/003 1 – Mother
2 – Father Q 11:
Q3 (Age): 3 – Siblings Open-ended
Number (14, 15, 16...) 4 – Other relatives
5 – Other situations Q 12 (TV):
Q4 (City): 6 – Mother & Father 0 – No
Open-ended* 7 – Mother & Siblings 1 – Yes
8 – Mother & Other 99 – DK/NA
Q 4 (Country)**: relatives
1 – Country where the 9 – Father & Siblings Q 12 (DVD):
questionnaire was 10 – Father & Other 0 – No
administered relatives 1 – Yes
2 – Europa 11 – Siblings & Other 99 – DK/NA
3 – Central America relatives
4 – South America 12 – Mother, Father & Q 12 (MP3/MP4/iPod,
5 – North America Siblings etc.):
6 – Asia 13 – Mother, Father & 0 – No
7 – Africa Other relatives 1 – Yes
8 – Oceania 14 – Mother, Siblings & 99 – DK/NA
99 – DK/NA Other relatives
15 – Father, Siblings &
Other relatives
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Q12 (Desktop computer): Q12 (Others): Q13 (Home game console

0 – No 0 – No –Wii, PlayStation...-):
1 – Yes 1 – Yes 0 – No
99 – DK/NA 1 – Yes
Q12 (Which ones?): 99 – DK/NA
Q12 (Laptop): Open-ended
0 – No Q13 (Handheld game
1 – Yes Q13 (TV): console –PSP...-):
99 – DK/NA 0 – No 0 – No
1 – Yes 1 – Yes
Q12 (Mobile phone): 99 – DK/NA 99 – DK/NA
0 – No
1 – Yes Q13 (DVD): Q13 (Video camera):
99 – DK/NA 0 – No 0 – No
1 – Yes 1 – Yes
Q12 (Tablet): 99 – DK/NA 99 – DK/NA
0 – No
1 – Yes Q13 (MP3/MP4/iPod, Q13 (Photo camera):
99 – DK/NA etc.): 0 – No
0 – No 1 – Yes
Q12 (Wi-Fi): 1 – Yes 99 – DK/NA
0 – No 99 – DK/NA
1 – Yes Q13 (Radio):
99 – DK/NA Q13 (Desktop computer): 0 – No
0 – No 1 – Yes
Q12 (Home game console 1 – Yes 99 – DK/NA
–Wii, PlayStation...): 99 – DK/NA
0 – No Q13 (Others):
1 – Yes Q13 (Laptop): 0 – No
99 – DK/NA 0 – No 1 – Yes
1 – Yes
Q12 (Handheld game 99 – DK/NA Q13 (Which ones?):
console –PSP...): Open-ended
0 – No Q13 (Mobile phone):
1 – Yes 0 – No Q14 (Word processor):
99 – DK/NA 1 – Yes 0 – No
99 – DK/NA 1 – Yes
Q12 (Video camera): 99 – DK/NA
0 – No Q13 (Tablet):
1 – Yes 0 – No Q14 (Photo editing):
99 – DK/NA 1 – Yes 0 – No
99 – DK/NA 1 – Yes
Q12 (Photo camera): 99 – DK/NA
0 – No Q13 (Wi-Fi):
1 – Yes 0 – No Q14 (Video editing):
99 – DK/NA 1 – Yes 0 – No
99 – DK/NA 1 – Yes
Q12 (Radio): 99 – DK/NA
0 – No
1 – Yes
99 – DK/NA
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Q14 (Web/blog editing): Q15 (Forums/Blogs): 99 – DK/NA

0 – No 0 – No
1 – Yes 1 – Yes Q19 (Board games):
99 – DK/NA 99 – DK/NA 1 – Never
2 – Less than twice a
Q14 (Drawing): Q15 (Whatsapp): month
0 – No 0 – No 3 – At least twice a month
1 – Yes 1 – Yes 4 – At least twice a week
99 – DK/NA 99 – DK/NA 5 – Everyday
99 – DK/NA
Q14 (Music creation): Q15 (Snapchat):
0 – No 0 – No Q20 (Radio):
1 – Yes 1 – Yes 1 – Never
99 – DK/NA 99 – DK/NA 2 – Less than twice a
month
Q14 (Coding): Q15 (YouTube): 3 – At least twice a month
0 – No 0 – No 4 – At least twice a week
1 – Yes 1 – Yes 5 – Everyday
99 – DK/NA 99 – DK/NA 99 – DK/NA
Q14 (Writing or Q15 (Others): Q21 (Computer):

screenwriting 0 – No 1 – Never
_Wattpad…): 1 – Yes 2 – Less than twice a
0 – No month
1 – Yes Q15 (Which ones?): 3 – At least twice a month
99 – DK/NA Open-ended 4 – At least twice a week
5 – Everyday
Q14 (Others): Q16 (TV): 99 – DK/NA
0 – No 1 – Never
1 – Yes 2 – Less than twice a Q22
month (Magazine/Newspaper):
Q14 (Which ones?): 3 – At least twice a month 1 – Never
Open-ended 4 – At least twice a week 2 – Less than twice a
5 – Everyday month
Q15 (Facebook): 99 – DK/NA 3 – At least twice a month
0 – No 4 – At least twice a week
1 – Yes Q17 (Films/ TV series): 5 – Everyday
99 – DK/NA 1 – Never 99 – DK/NA
2 – Less than twice a
Q15 (Twitter): month Q23 (Books):
0 – No 3 – At least twice a month 1 – Never
1 – Yes 4 – At least twice a week 2 – Less than twice a
99 – DK/NA 5 – Everyday month
99 – DK/NA 3 – At least twice a month
Q15 (Instagram): 4 – At least twice a week
0 – No Q18 (Videogames): 5 – Everyday
1 – Yes 1 – Never 99 – DK/NA
99 – DK/NA 2 – Less than twice a
month Q24 (Comics):
3 – At least twice a month 1 – Never
4 – At least twice a week 2 – Less than twice a
5 – Everyday month
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3 – At least twice a month Q30 (Browsing Internet): Q36 (Playing

4 – At least twice a week 1 – Strongly disagree videogames):
5 – Everyday 2 – Disagree 1 – Strongly disagree
99 – DK/NA 3 – Neutral 2 – Disagree
4 – Agree 3 – Neutral
Q25 (Cinema): 5 – Strongly agree 4 – Agree
1 – Never 99 – DK/NA 5 – Strongly agree
2 – Less than twice a 99 – DK/NA
month Q31 (Watching Youtube):
3 – At least twice a month 1 – Strongly disagree Q37 (Watching series):
4 – At least twice a week 2 – Disagree 1 – Strongly disagree
5 – Everyday 3 – Neutral 2 – Disagree
99 – DK/NA 4 – Agree 3 – Neutral
5 – Strongly agree 4 – Agree
Q26 (Social Media): 99 – DK/NA 5 – Strongly agree
1 – Never 99 – DK/NA
2 – Less than twice a Q32 (Playlists/Online
month music): Q38 (Making videos):
3 – At least twice a month 1 – Strongly disagree 1 – Strongly disagree
4 – At least twice a week 2 – Disagree 2 – Disagree
5 – Everyday 3 – Neutral 3 – Neutral
99 – DK/NA 4 – Agree 4 – Agree
5 – Strongly agree 5 – Strongly agree
Q27 (Email): 99 – DK/NA 99 – DK/NA
1 – Never
2 – Less than twice a Q33 (Searching Q39 (If I like the movie):
month music/movies): 1 – Strongly disagree
3 – At least twice a month 1 – Strongly disagree 2 – Disagree
4 – At least twice a week 2 – Disagree 3 – Neutral
5 – Everyday 3 – Neutral 4 – Agree
99 – DK/NA 4 – Agree 5 – Strongly agree
5 – Strongly agree 99 – DK/NA
Q28 99 – DK/NA
(Blogs/websites/forums): Q40 (Favorite
1 – Never Q34 (Online videogames):
2 – Less than twice a videogames): 1 – Strongly disagree
month 1 – Strongly disagree 2 – Disagree
3 – At least twice a month 2 – Disagree 3 – Neutral
4 – At least twice a week 3 – Neutral 4 – Agree
5 – Everyday 4 – Agree 5 – Strongly agree
99 – DK/NA 5 – Strongly agree 99 – DK/NA
99 – DK/NA
Q29 (Watching TV): Q41 (Making & sharing):
1 – Strongly disagree Q35 (Watching videos): 1 – Strongly disagree
2 – Disagree 1 – Strongly disagree 2 – Disagree
3 – Neutral 2 – Disagree 3 – Neutral
4 – Agree 3 – Neutral 4 – Agree
5 – Strongly agree 4 – Agree 5 – Strongly agree
99 – DK/NA
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Q42 (Commenting on Q48 (Buying favorite TV Q54 (Parents_Cellphone):

social media): series): 1 – Strongly disagree
1 – Strongly disagree 1 – Strongly disagree 2 – Disagree
2 – Disagree 2 – Disagree 3 – Neutral
3 – Neutral 3 – Neutral 4 – Agree
4 – Agree 4 – Agree 5 – Strongly agree
5 – Strongly agree 5 – Strongly agree 99 – DK/NA
99 – DK/NA 99 – DK/NA
Q55 (Friends_Cellphone):
Q43 (Sending to friends): Q49 (Storytelling): 1 – Strongly disagree
1 – Strongly disagree 1 – Strongly disagree 2 – Disagree
2 – Disagree 2 – Disagree 3 – Neutral
3 – Neutral 3 – Neutral 4 – Agree
4 – Agree 4 – Agree 5 – Strongly agree
5 – Strongly agree 5 – Strongly agree 99 – DK/NA
99 – DK/NA 99 – DK/NA
Q56 (Parents_Social
Q44 (Taking pictures): Q50 (Looking into Media):
1 – Strongly disagree stories): 1 – Strongly disagree
2 – Disagree 1 – Strongly disagree 2 – Disagree
3 – Neutral 2 – Disagree 3 – Neutral
4 – Agree 3 – Neutral 4 – Agree
5 – Strongly agree 4 – Agree 5 – Strongly agree
99 – DK/NA
Q45 (Social media Q57
followers): Q51 (Shots_colors...): (Homework_Cellphone):
1 – Strongly disagree 1 – Strongly disagree 1 – Strongly disagree
2 – Disagree 2 – Disagree 2 – Disagree
3 – Neutral 3 – Neutral 3 – Neutral
4 – Agree 4 – Agree 4 – Agree
5 – Strongly agree 5 – Strongly agree 5 – Strongly agree
99 – DK/NA 99 – DK/NA 99 – DK/NA
Q46 (Writing fan fiction): Q52 (Tutorials): Q58 (Sharing_Picture):

99 – DK/NA 99 – DK/NA 99 – DK/NA
Q47 (Cosplay): Q53 (Parents_Internet): Q59 (Friends_Picture):

99 – DK/NA 99 – DK/NA 99 – DK/NA
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Q60 (Video): 4 – Agree Q72:

1 – Strongly disagree 5 – Strongly agree Open-ended
2 – Disagree 99 – DK/NA
3 – Neutral Q73:
4 – Agree Q66 (Parents_Music): Open-ended
5 – Strongly agree 1 – Strongly disagree
99 – DK/NA 2 – Disagree Q74:
3 – Neutral Open-ended
Q61 (Notification): 4 – Agree
1 – Strongly disagree 5 – Strongly agree Q75:
2 – Disagree 99 – DK/NA Open-ended
3 – Neutral
4 – Agree Q67 (Friends_Whatsapp): Q76:
5 – Strongly agree 1 – Strongly disagree Open-ended
99 – DK/NA 2 – Disagree
3 – Neutral Q77:
Q62 (Personal account): 4 – Agree Open-ended
1 – Strongly disagree 5 – Strongly agree
2 – Disagree 99 – DK/NA Q78:
4 – Agree Q68 (Worrying_Social
5 – Strongly agree Media): Q79:
99 – DK/NA 1 – Strongly disagree 0 – No
2 – Disagree 1 – Yes
Q63 (Friend request): 3 – Neutral 99 – DK/NA
1 – Strongly disagree 4 – Agree
2 – Disagree 5 – Strongly agree Q80 (Fan fiction):
3 – Neutral 99 – DK/NA 1 – Not at all
4 – Agree 2 – A little
5 – Strongly agree Q69 (Being connected): 3 – Average
99 – DK/NA 1 – Strongly disagree 4 – Plenty
2 – Disagree 5 – A lot
Q64 (Screen_Health): 3 – Neutral 99 – DK/NA
1 – Strongly disagree 4 – Agree
2 – Disagree 5 – Strongly agree Q81 (Videogames):
3 – Neutral 99 – DK/NA 1 – Not at all
2 – A little
Q65 (Social Q70: 3 – Average
Media_Participating): Open-ended 4 – Plenty
1 – Strongly disagree 5 – A lot
2 – Disagree Q71: 99 – DK/NA
*Open-ended questions should be transcribed in the exact same way as they were answered
in the questionnaire.
** Mark 1 if the country chosen by the respondent matches the one where the research is
being carried out.
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FIELDWORK TOOLKIT
PARTICIPATORY CULTURE WORKSHOP PROTOCOL

Project Full Title: TRANSMEDIA LITERACY. Exploiting transmedia skills and informal learning strategies to improve formal education
Type of action: RIA
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Participatory culture workshop
If you have any questions about this workshop please contact Carlos A. Scolari (carlosalberto.scolari@upf.edu).
Objectives
This workshop will map the media consumption of teenagers and explore content production, sharing processes, skills acquisition, and
informal peer learning strategies. This is the second stage of the fieldwork and will be also useful to familiarise teenagers with the research
team.
The team will conduct four (4) workshops in two (2) different institutions in each one of the participating countries (total: 8 workshops per
country):
● Institution n. 1 (12- 14 years old): videogame workshop + participatory culture workshop

NOTE: In some countries secondary school may be split into two cycles or even institutions.
General information:
- The workshop proposes an activity in a classroom for 12-16 participants. The class will be divided into working groups (ideally 4 groups of
3/4 students).
- Three (3) researchers participate in the workshop. The following are the main tasks of each one of them. Although, the assigned roles
may change over the course of the workshop:
24
o Researcher n. 1: Co-ordination of the workshop. Main interlocutor of participants.

o Researcher n. 2: Support to workshop activities. Interlocutor of participants. Registration of processes (taking notes and
eventually taking pictures).
o Researcher n. 3: audio-visual registration of processes (camera/video)
- The workshop consists of two (2) sessions of two (2) hours per workshop (total: 4 hours).
- Each session of the workshop will include:
o 1) INTRODUCTION: workshop presentation. Introduction of the topic to the participants; projection of a short video;
o 2) READY TO GO: creation of a map of media consumption;
o 3) HANDS-ON: creation of groups. Development of a narrative;
o 4) SHARING: presentation and discussion of the productions;
o 5) WRAPPING UP: assessing and closing of the workshop.
Participatory culture workshop materials and infrastructure:

Session 1 and Session 2: PC and video-projector; PC (or tablets) + Internet connection; tables and chairs; large white cardboards; colour post-
its; colour pens; video camera and photo camera; USB memories, mobile phone/tablets and wires (for file-transferring during the workshops).
It is recommended that researchers bring drinks (water, juice) and something to eat (cookies) to distribute during the workshop. Researchers
should try to create a creative, open and participatory environment.
Research protocol
Session 1 (first day)
INTRODUCTION (5’)
The researcher introduces the theme, dynamics and objectives of the workshop:
● “In this workshop we will talk about your favourite TV shows, movies, books, comics, manga, fanfiction and other media contents and
why do you like them. You will share what you know about them and you will create new narratives”.
● “This workshop will be held in two (2) sessions. In the first session (today), we will discuss your favourite products and we will organize
25
groups to create new stories. In the second session we will continue working on the stories and, at the end, we will share and
comment these stories and talk about your favourite social media”.
READY TO GO (40’)
Activity I: Map of narrative affinities

The objectives of this activity are:
a) To explore the media diet of the participants: how their support their choices, their preferences...
b) To explore how the participants classify/define/organize media content.
c) To begin to identify the most active participants (who will be interviewed in the next phase of the investigation).
We want to know how they organize their media consumption (criteria, values, classifications –i.e. genre, type of narrative, story, technical
factors, media devices, etc.). This approach aims to foster motivation and confidence among the participants, so that they share their interests
with researchers. The researcher attitude should be: "I want to listen to you."
Workflow:
- Each participant receives 5 post-its. They are asked to write down on each post-it the title of one of their favourite media content (TV
series, movies, manga, anime, comic books, novels, etc.). Remind the participants that this is an individual activity! The researcher
explains to them: “Now let's talk about your favourite stories, why you like them and why you prefer them. Please write down a media
content by post-it in the next five minutes”. Remind them that they can include any kind of content.
- Each participant must select one post-it and present the content to the other participants. They should state why they have chosen it and
indicate the category to which it could be assigned. The categories are defined by the participants (“funny”, “action”, “music”, “junk”,
etc.).
- After the individual presentations, Researcher n. 1 asks participants to stand up and put the post-its on a white cardboard. This is a group
activity; participants should organise content according to their own categories.
- Researcher n. 3: a) registers the discussions of the participants in front of the cardboard with the video camera, b) photographs the
"map" created by the participants (see photos).
- After about 15’ Researcher n. 1 announces the end of the first activity and collects the cardboards. The researcher synthesises what the
26
group found in common in terms of tastes, categories, etc.
Even if guiding questions are proposed at the beginning of the activity, researchers should be ready to moderate according to the interests of
adolescents and their participation flow. Researchers must have additional tactics and tips to promote interest and participation. Researchers
should also be aware of the future “native categories” that are revealing, listen, and inquire further; likewise, researchers should be ready to
return the conversation to the research interest (“analytical categories”).
Activity II: Introduction to participatory culture

a) To Identify the creative media practices of participants in the context of collaborative culture.
b) To begin to identify the most active participants (who will be interviewed in the next phase of the research).
27
Workflow:
- The researchers show a short video (1 to 3 minutes) about TV series, cartoons and/or fanfiction to introduce the subject. We suggest
using fan-made trailers, mashups and parodies; they are short and funny. ALTERNATIVE: show a couple of videos and compare them. It is
important to consider participants’ interests in each cultural context and age range. During the test (Barcelona, October 2015) we played
a mix of the following videos, but it is recommended to adapt the examples to particular sociocultural contexts:
● https://www.youtube.com/watch?v=1XobiB6244U (parody of the Hunger Games)
● https://www.youtube.com/watch?v=sXWtHCUR_Sw (parody of Romeo and Juliet)
● https://www.youtube.com/watch?v=1oZousfivyc (parody of the Last Survivor)
- Debate after playing the videos: “What kind of videos are these? Do you watch them? How often? Did you like them? Why (not)? What
have you changed on them? Have you ever produced a video like these ones? Would you like to produce a video? Would you like to
produce any other content (comic, podcast, written story)? What story would you like to tell?”
- The activity closes with summarising what the group and the researchers found in common in terms of tastes, categories, content, etc.
- Researcher n. 3 records the statements of participants with the video camera and takes pictures along the process (Researcher n. 2 may
also take pictures).
HANDS-ON (50’)
Activity III: To tell a story

a) To create a narrative (autonomous or inspired by another story) in any medium or language.
b) To identify the transmedia skills that participants put into practice during the production process.
c) To begin to identify the most active participants (who will be interviewed in the next phase of the investigation).
Workflow:
- Organisation of groups. The groups should include 3 or 4 participants. The organisation is free: the researcher only intervenes if there are
small groups or participants that hadn’t been allocated. Participants will sit around a table so that they can see each other. The
researchers provide the tools to develop the story (paper, pencils, tablets, PCs, etc.).
28
- Researcher n. 1 indicates the available time (40 ') and the resources in the classroom: “This is a group activity where you create a story.
Everyone should participate in the construction and development of the story. Please check the time: today you will have 40’ (but you
can continue the next session)…”
- Participants are asked to create a brand new story or to expand a well-known story. They could mix different stories (and characters) to
produce a remix or mashup. The group will have full freedom to choose the themes and media form of the story.
- Participants may work in digital formats (video, photography, etc.) or physical (drawing, writing, etc.). They can use their own laptops or
mobile devices. Researchers must offer different materials (blank sheets to facilitate brainstorming, list of online resources, list of free
software for tablet/mobile devices, etc.)
- Researcher n. 3 records the production process (negotiations, discussions, search of online information, etc.) with the video camera and
takes pictures along the process (Researcher n. 2 may also take pictures).
- Researchers should offer advice only if required by participants. Researchers are not instructors; they should not give any indication.
However researchers can guide the groups through questions:
o Characters: Who are the characters of the story? Or will the group create them? Are they well-known characters?
o Plot: What happens in the story? Does it have a happy or tragic end?
o Narrative World: Where? When?
o Media: Video? Photo? Audio? Written story? Comic?
o Production planning: What will the group produce in the first session? What about the second session? Any division of labour inside
the group?
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Researchers should observe participants’ interactions, how they decide, negotiate and share. Please pay attention to their skills, how
participants search for information, what they say about stories and media...
SHARING (15’)
- At the end of the session each group briefly presents what they have done, the story that they are working on (characters, plot, narrative
world) and how they are developing it (textual production).
- Researcher n. 3 records the presentations.
-
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WRAPPING UP (5’)
- Conclusion of the first session. Evaluation of the activity and call for the second session, when participants will be able to finish the
narrative they are working on.
Session 2 (second day)
INTRODUCTION (5’)
- Constitution of original groups.

- Researcher n. 1 reminds the group about the theme, dynamics and objectives of the workshop.
- Researcher n. 1 explains: “You will have 45' to finish the narrative and prepare a short presentation”. In case of ‘ambitious’ productions
groups may present a general narrative structure and draft contents (i.e. a storyboard).
- Researchers n. 1 and 2 quickly review with each group the narratives they are developing.
HANDS-ON (45’)
Activity III: To tell a story (cont.)
- The groups continue with the development of the narrative. They must proceed with the production using the tools they have chosen.
- Researcher n. 3 records (and/or photographs) the production process.
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Researchers should observe the participants’ interactions, how they decide, negotiate and share. Please pay attention to their skills, how
participants search for information, what they say about stories and media...
Remember to keep 5’ or 10’ for transferring the digital productions from tablets, PCs or mobile devices to the main PC before the final
presentations. USB memories, wires, adaptors and mobile devices are useful for file-transferring.
Remember to copy all the files and take them with you!
SHARING (20’)
- Final presentations: each group briefly presents the story (characters, plot, narrative world) and shows their textual production (even if
not completely finished). If they are not finished, researchers may ask the participants how they would continue the production, what the
new steps will be, etc. This will allow researchers to see their ability to visualize the entire production process, next steps, etc.
- Researcher n. 3 records the presentations with the video camera and takes pictures along the process (Researcher n. 2 may also take
32
pictures).
- Final evaluation of the activity. Researchers and participants assess narrative productions, participants’ satisfaction, possible technical
and time limits, etc.
Activity IV: Sharing on social media

a) To develop a first exploration of social networks usage. This exploration will be further developed in the interviews.
b) To begin to identify the most active participants (who will be interviewed in the next phase of the investigation).
INTRODUCTION (5’)
Workflow:
- Participants are invited to the last activity: “Now we will work on social media”
- Researchers show a video (between 1 and 5 minutes) on social media. It is important to consider the participants’ interests in each
cultural context and their age. During the test (Barcelona, October 2015) we played the following video:
o https://www.youtube.com/watch?v=fr5Gtstr9Bo
o ALTERNATIVE: https://vimeo.com/85774795
- Depending on the selected video(s) Researcher n. 1 proposes questions related to both the interests, emotions and critical interpretation
of the different social media platforms: Did you like the video? What social media platforms are the ones you like most? Why? What do
you use social media for? Participants are asked to assess the differente platforms (pros and cons). More questions: What do you think
are the disadvantages of Facebook? And Instagram? What do you like most about Twitter? Do you think that there are situations where it
is not appropriate to use social media?
HANDS-ON (20’)
- Each group must draw a map of social media affinities. Groups make a map with the different social media platforms that they use;
platforms must be organised according to their own categories (type, features, pros and cons, moments or situations in which they use
them, etc.). Participants are free to choose their categories. Participants can use post-its and fix them to a white cardboard; they may also
use markers to indicate relationships among the different social media platforms.
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- This is a group activity. However, it is not necessary that participants are allocated in the same group they did the previous activity with
(To tell a story).
- Researcher n. 3 records the group activity with the video camera and takes pictures along the process (Researcher n. 2 may also take
pictures).
SHARING (15’)
- Each group briefly explains their map. The rest of the groups comment on it.
- Researcher n. 3 records the presentations with the video camera and takes pictures of the maps (Researcher n. 2 may also take pictures).
WRAPPING UP (5)
- Conclusion of the workshop. Researchers thank the participants and let them know that some of them will be called for an interview.
34
Data treatment Protocol
Description
During the workshop different types of data will be obtained.
All data must be coded according to the Workshop Card.
Data Type:
- Video: indicate name of activity / registration time.
- Photographs: indicate name of activity / registration time.
- Cardboard: take a photograph of the cardboard and copy its content on a table.
- Participants’ productions: archive participants’ productions. If they are in digital format, archive the corresponding file. If they are on paper
or any other material, take photos and keep them.
- Field notes: copy researchers’ field notes into digital format.
- Researchers’ field diary: This diary is written/finished after the workshop. It may be a collective or personal diary. In case of personal diaries,
integrate them in a single document.
All the data must be archived following the approved security data protocols.
Data will be treated with NVivo. The corresponding protocol of data processing and data codification will be sent to partners (February
2016).
35
FIELDWORK TOOLKIT
VIDEOGAME WORKSHOP PROTOCOL

Type of action: RIA
36
Videogame workshop
If you have any questions about this workshop please contact Oliver Pérez (oliver.perez@upf.edu).
Objectives
This workshop will map the media consumption of teenagers and explore content production, sharing processes, skills acquisition, and
informal peer learning strategies. This is the second stage of the fieldwork and will be also useful to familiarise teens with the research team.
The team will conduct four (4) workshops in two (2) different institutions in each one of the participating countries (total: 8 workshops per
country):
 Institution n. 1 (12- 14 years old): videogame workshop + participatory culture workshop
NOTE: In some countries the secondary school may be split into two cycles or even institutions.
General information:
- The workshop proposes an activity in a classroom for 12-16 participants. The class/groups will be ideally divided into working groups
(ideally 4 groups of 3/4 participants).
- Three (3) researchers participate in the workshop. The following are the main tasks of each one of them. Although, the assigned roles may change
over the course of the workshop:
o Researcher n. 1: Co-ordination of the workshop. Main interlocutor of participants.
o Researcher n. 2: Support to workshop activities. Interlocutor of participants. Registration of processes (taking notes and eventually
taking pictures).
o Researcher n. 3: audio-visual registration of processes (camera / video)
- The workshop consists of two (2) sessions with a maximum of two (2) hours per workshop (total: 4 hours).
- Each session of the workshop will include:
o 1) INTRODUCTION: workshop presentation. Introduction of the topic to the participants; projection of a short video;
37
o 2) READY TO GO: creation of a map of media consumption;

o 3) HANDS-ON: creation of groups. Development of a narrative;
o 4) SHARING: presentation and discussion of the productions;
o 5) WRAPPING UP: assessing and closing of the workshop.
Videogame workshop materials and infrastructure:

Session 1: Video “tribute videogames”, PC and video-projector; PC (or tablets) + Internet connection; tables and chairs; large white
cardboards; colour post-its; colour pens; envelops (one for each group); cardboards with the size of the envelopes with the six colours of the
Trivial game (12 cardboards of each colour); video camera and photo camera; USB memories, mobile phone/tablets and wires; powerpoint
presentation of the Trivial Workshop.
Session 2: PC and video-projector; PC (or tablets) + Internet connection; tables and chairs; envelopes with the questions of each group;
envelopes with the complementary questions from the researchers (see below); video camera and photo camera; USB memories, mobile
phone/tablets and wires; powerpoint presentation of the Trivial Workshop II; Trivial “Family Edition”; jokers (see below); timer.
Research Protocol
Session 1 (first day)
INTRODUCTION (10’)
Objectives:
(a) Exploring participants’ consumption: what kind of videogames they prefer, how they argue about their tastes…
(b) Focusing participants towards a working frame where videogames are a significant cultural object and knowledge about them is
something valuable.
38
- Workshop objectives, structure and themes are introduced.

1) Presentation by Researcher-1. “In this workshop we are going to deal with videogames, what you like about them, etc., we are going
to share what we know about this subject, and finally we are going to play a game about videogames...”
2) “This workshop is organised in two sessions. In the first session (which we are dealing with today), I’m going to ask you to talk about
your favourite videogames and afterwards we are going to create a game about videogames together, then we will talk about how
you use social media in relation to videogames”.
- The video “Tribute to videogames”, by the fan FonzoUA is projected in class (https://www.youtube.com/watch?v=bblrQR1jm1E). This is
just an example, each research team should pick a video adapted to their own sociocultural context.
- Some questions are asked by Researcher 1 (and Researcher 2):
1) Round 1: Did you recognise any videogames from the video? [See Annex 1: Videogames cited] How much do you think you know
about videogames? About which ones exactly?
2) Round 2: Do you like videogames? Why? Do you agree with the reasons listed by the author of the video? [See Annex 2: Fan
reasons] Could you think any other reasons as to why you like videogames?...
READY TO GO (35’)
The aims of this section are:

a) Exploring participants’ consumption: what kind of videogames they prefer, how they argue about their tastes…
b) Initial approach to the video-ludic culture of the participants: the way they classify videogames will give us some clues regarding what
criteria they know and/or they appreciate the most among other possibilities (e.g., commercial genres, kinds of narrative, history, technical
elements, etc.)
- 20 post-its are delivered to each group, together with a big cardboard. Every participant must take 5 post-its. They are told to write down
the title of one of their favourite videogames (or at least one they have played a lot) on each post-it, without talking with the rest of the
group.
39
Researcher 1 clarifies that any kind of videogame is valid, including mobile games, etc.
- After 5/10 minutes, Researcher 1 asks the participants to fix their post-its on the cardboard, forming groups. Thus they have to classify
the post-its in different “packs”, until they have composed between three (minimum) and seven (maximum) groups. The classification
criteria are free but the group has to agree on them and they have to write them down on the cardboard.
- They are also asked to write a group name on the back of the cardboard.
- Once the activity is on, Researcher 3 records micro-interviews (video) with every group. Researcher 1 and/or 2 ask some questions, e.g.:
o Which videogames do you like the most among these? Why?
o Do you think some of them are better than others? In what sense: interactivity, aesthetics…?
o Why have you grouped the videogames in this way? What do those that you put together have in common?
o What are the differences among the groups you have formed?
40
- Researcher 3 records (video/photograph) the “map” created by the participants.

After 30 minutes, Researcher 1 announces the end of the activity and he/she picks the cardboards.
HANDS-ON (60’)
Activity - Trivial about videogames: preparing questions
The aim of this section is to discover the knowledge areas related to videogames that the participants effectively know, and/or what kind of
knowledge about videogames they consider significant.
Researcher 1 tells the participants that they are starting the second activity: making up a game about videogames.
- With a brief powerpoint presentation, Researcher 1 shows a picture of Trivial Pursuit, saying that the game the participants are going to
create will be based on this board game. Using the powerpoint, Researcher 1 explains in a concise way the main rules of Trivial Pursuit.
Attached there is a document with a summary of Trivial rules > powerpoint Trivial Workshop.
41
- In the last slide, the six colours linked to the six knowledge areas of Trivial are shown.
- Researcher 1 explains that they are going to create a Trivial about videogames and each group must prepare questions about two
different topics. They are free to decide what topics they want to work on (but they must be related to videogames). Thus, two colours
(topics) are assigned to each group.
- Researcher 1 announces that the following day they will play the game together. Therefore, it’s very important that they don’t say
anything related to their questions to the members of other groups; otherwise it will be difficult for the game to work.
- Two envelopes with 10 cards in each are delivered to each group. The cards are coloured according to the six Trivial colours previously
mentioned.
- Participants are firstly asked to spend 5 or 10 minutes to decide on the topics they want to work on, which they must write down on the
42
envelope. [Annex 3: Possible topics. This information is only for the researcher. Important: under no circumstances they can directly
propose a particular topic to the participants].
- Once the topics are chosen, the participants have to write 10 questions on each of the ten cards for each topic. They must write down the
question on the front and the answer on the back.
- Researchers leave the participants work freely for 15-20 minutes. Researcher 3 records all the activity with a video-camera. Researcher 1
or 2 warn the participants that they shouldn’t create questions that are impossible to answer by their classmates.
- Researchers 1 and 2 visit the groups and, if needed, they offer some help and guidance to the participants. They can also offer a tablet or
any other resource that allows participants to look up information on the Internet. This last phase is due to last 20 minutes approx.
43
WRAPPING UP (15’)
- Activity closure. If any group couldn’t finish the task, Researcher 1 or 2 asks them to finish the Trivial questions at home. They will have to
bring those same cards to class the following day.
- Activity assessment. Researchers remind the participants to not tell anything about their questions to other groups. They thank the
participants for their participation and collect the envelopes with the questions they have written.
Session 2 (Second day)
Previous tasks for the researchers:

After the first session and before the second one, researchers have to perform a series of tasks:
1. Review the questions made by the participants because there may be some wrong or ambiguous answers, etc. and the researchers have
to correct them.
2. Creation of additional questions (only if needed). The researchers prepare a minimum of 10 extra questions about the theme of each
group (total: 40). These questions will be used when one group falls into an own coloured box (topic) on which they worked (since, in these
cases, they will know the answers). It is recommended to prepare two types of questions: (a) Questions like "how to play...", referring to a
game that this group cited on the post-it activity in Session 1: Ready to go (therefore, known by them); (b) Questions on general knowledge
about the theme.
3. Materials to prepare: cards (cardboards) with additional questions (made by the researchers), wildcards (see functions below),
powerpoint Trivial adapted (Trivial Workshop II): researchers have to include the titles of the topics chosen by participants in the final slide.
44
INTRODUCTION – PART I (15’)
Game approach:
 The researcher shows the Trivial box and the envelopes with the questions and he/she announces that they are going to play to the
game they invented in the previous workshop.
 The groups of participants are organised around a common table, keeping the "teams" of the previous workshop.
 The game board is placed in the middle of the table (Trivial board: “Family Edition”, which is a faster version of the common Trivial).
 Before starting, the researcher explains some general rules about the game (how they will apply the rules of Trivial): it will be one
question per check box, and in case of correct answer they will obtain a "triangle" directly in any box; in the final round of questions at
the centre of the board, they must answer at least 4 of the 6 questions correctly (one of each theme) to win. Unlike traditional Trivial,
when a group answers a question correctly, the group will not continue throwing, but the turn will go to the next group. Finally, once a
group has all the "triangles", the group can win by throwing an exact number with the dice (the number they need to get to the centre
of the board), or by throwing a number that is higher than the boxes away from the centre of the board.
 The researcher also explains some special rules to participants, based on a powerpoint (Trivial Workshop II).
45
o Each group from the previous workshop will be a team in this game.
o If a group falls into a box of questions about one of the themes they created, as they know the answer, the researcher will ask
them a special question which he/she will have prepared (some questions will be based on asking the team to explain well
"how to play and how to win" a particular game -one of the games that the team cited in the previous post-it activity-,
therefore known by them. If they do it well, they will win the point).
o If the questions of a theme are exhausted, the researcher -as arbitrator- will provide other questions prepared by themselves.
o When a group answers a question correctly, they must explain how they knew the answer (where they learnt that) before
being given the corresponding point (optional).
o When a group answers one question incorrectly, the group who invented the question has to explain how they knew this and
46
where they learnt or found that information.

o Each team can only use the wildcard once. The wildcard allows them to go to a PC and search the answer on the Internet -for
up to 30 seconds-.
INTRODUCTION – PART II (15’)
Objectives: To observe the discussion that emerges about areas of knowledge around videogames. (Possible spontaneous discussion on
creating rules: what is "fair" and "unfair", how to decide "who knows more" about videogames, etc.).
 The researcher emphasises that the participants have to decide one last special rule together:
“If, after an hour (time allotted to play), no one has won, how do we decide who is the winner? You must agree on what themes are
more important in case nobody has won (a tie)...”
HANDS-ON: TRIVIAL ABOUT VIDEOGAMES: MATCH (45’)
Objectives:
Through the "basic" questions created by participants:
 To discover those areas of knowledge about videogames that participants actually know, and/or those areas to which they give
importance.
 Through the complementary question "How did you know the answer?":
 Investigate about the media of informal "acculturation" about videogames that the teenagers use.
47
 Through the "special" questions made by the researcher:

 To check how participants conceive the necessary skills to "play nice" and "win" in videogames they like. To check what they
emphasise, what they find easy to verbalise and what not...
 Through the use of PCs with the wildcard:
 To observe what online resources they know and use to find information about videogames.
Trivial game on videogames.
SHARING I: EVALUATION OF THE GAME AND THE MATCH AND REFLECTION ABOUT THE CREATION OF RULES (10’)
Objectives: Reflecting on the creation of rules and on the impact of the rules in the generation of game experiences and the creation of
meaning, researchers ask the participants if they liked the game and if they are satisfied with the rules. "If you could change any rule or some
aspect of the game, what would you change? How?"
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SHARING II: HOW TO LEARN AND SHARE ABOUT VIDEOGAMES? (30’)
Objectives: Investigate (more) about the media of informal "acculturation" about videogames that teenagers use. Investigate the role of
social networks in their consumption and interaction with videogames.
 The researcher removes the game board and talks to the participants:
 "How can we continue to learn about videogames?"...
 After our game, if we want to continue to learn about videogames, how could we do it?
 The researcher asks the participants to share possible ways of learning about videogames: Do you do it through websites, YouTube
channels, fan magazines, TV shows...?
 The researcher asks the participants to show the websites, YouTube channels, etc. through the projector (or the researcher can
manage the browser following the directions of the participant).
 Possible questions to generate discussion: "Do the others know this website?”... “What do you think of this website?”... “Why or for
what do you use it?”... “Do you know other similar websites?”...
 The researcher also asks the participants how they use social media in relation to videogames: "How do you meet with other friends
to play videogames online?"... "Do you use social media like Whatsapp to communicate while you are playing?"... "Do you use social
media to share information or opinions about videogames?"... “Do you use YouTube to retrieve information about videogames?”...
"Do you follow any youtubers?"... "Have you met people through videogames?" "Do you keep in touch with them through social
media?"...
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WRAPPING UP (5’)
Final valuation of the activity.

Researchers thank the participants for their participation and they close the workshop.
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Data treatment Protocol

During the workshop different types of data will be obtained.
All data must be codified according to the Workshop Card.
Data Type:
- Video: indicate name of activity/registration time.
- Photographs: indicate name of activity/registration time.
- Cardboard: take a photograph of the cardboard and copy its contents on a table.
- Participants’ productions: archive participants’ productions. If they are in digital format, archive the corresponding file. If they are on paper
or other material, take photos and keep them.
- Field notes: copy the researchers’ field notes into electronic format.
- Researchers’ field diary: This diary is written/finished after the workshop. It may be a collective or personal diary. In case of personal diaries,
integrate them in a single document.
All the data must be archived following the approved security data protocols.
Data will be treated with NVivo. The corresponding protocol of data processing and data codification will be sent to partners (February
2016).
Annex
1.- Videogames cited
 Assassin’s Creed
 Mass Effect
 Deus Ex
 Skyrim
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 Journey
 Brothers
 Battlefield
 Heroes of Might and Magic
 Tomb Raider
 StarCraft
 Thief
 Metro: Last Night
 Beyond: Two Souls
2.- Fan reasons
 Visit other worlds

 The possibility of “being” other person
 Save the galaxy
 Fight against evil
 Understand the differences between humanity and machines
 Fight against death
 Investigate ruined worlds
 Visit the future
 Learn lessons about hope and friendship
 Persist in pursuing your dreams

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3.- Possible themes
 Characters of videogames
 Genres of videogames
 Videogames of action
 Videogames of war
 Videogames of shooting
 Videogames of platform
 Videogames of music
 Videogames of adventure
 Role playing videogames
 Videogames of strategy
 Videogames of simulation
 Online videogames
 Fictional worlds of videogames
 Objects of videogames and their use
 Game rules
 Skills of the good videogame player
 How do you win the videogame xxxx?
 History of the videogames
 Videogame relation – cinema
 Magazines and websites specialized in videogames
 Media and videogames: Tv shows, etc.
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 Names of designers or production companies

 Publishers
 Festivals of videogames
 Videogames and learning
 Game console (Wii, Play Station, etc.)
 Portable game console (PSP, etc.)
 Game-pads and control devices
 Graphics of the videogames
54
FIELDWORK TOOLKIT
INTERVIEW PROTOCOL AND GUIDE

Type of action: RIA
55
INTERVIEW
For any questions concerning the INTERVIEW process contact Elisenda Ardévol (eardevol@uoc.edu)
Objectives
Objectives: To deepen the understanding of transmedia practices of active adolescents, with special emphasis on the creative skills and informal
learning strategies they perform in videogames, participatory culture and social media. The theme of the interviews is related to social media, gaming
and content creation.
Materials: Video camera and memory stick.
It is recommended to bring some drinks (water, juice) and something to eat (cookies) to distribute during the interview. We will try to generate a
creative, open and participatory environment.
Research Protocol
Description
Before the interview:
● Ten (10) participants per class will be selected (40 per country). Five (5) from the videogame workshop and five (5) from the participatory
culture workshop. It is recommended to choose a balanced number of participants from both genders provided that this doesn’t involve the
exclusion of people who fit the profile sought or are willing to participate.
● The selection of the interviewees must cover the different profiles of adolescents. Choose a balanced number of participants from both
genders. Choose participants who have excelled in the workshops for their dedication and expertise in participatory culture and videogames
(the most active, the geekiest ones, the ones participating in fan clubs, the ones creating gaming tutorials, etc.) and have expressed interest in
continuing to participate in the investigation.
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● Teachers will be given an envelope for the interviewee containing interview instructions a week before the interview (See sample – Interview
letter and media diary). The envelope includes a timetable-like sheet so that the adolescent makes a diary about their use of media in order to
know their media routines.
Interview conditions:
● Interviews can be conducted outside the school or at the centre, if the centre can provide a secluded space for it.
● Interviews last between 60'-90 '. Eventually they can be extended to a maximum of 2 hours.
● Interviews are videotaped.
● Interviews are semi-structured and questions are organised in four sections:
- What do you do?
- How do you do?
- How did you learn?
- How do you share?
Practical aspects
• Make the interviewee feel comfortable and cared about.
• Place the video camera so you can see the student’s hands, keyboard and screen. Please, do not focus on their face directly.
• Focus the camera on the screen or on their hands (see below), depending on where the action is and without interfering in the interview.
• Check that the camera is working and has enough battery.
• Check that the sound is right and the microphone is focused on the speaker.
• Bring several memory sticks.

57
Procedure
Starting the interview
● Start the interview asking about what the interviewee did in the workshop.
● The guide is orientative. Try to not formulate direct questions, but bring issues out as in an informal conversation.
During the Interview
● If the interviewee has participated in the videogames workshop, follow the questions about videogames.
● If the interviewee has participated in the participatory culture workshop, follow the questions about content creation.
● The questions about social media are transversal and can be asked while discussing gaming/content creation, or be developed later on as a
section apart.
Closing the interview
● Close the interview by asking if the interviewee want to say something else. Thank them for their time and dedication.
● Collect the media diary and discuss it with the participant.
● Remember to ask them about their year/grade and age at the end of the interview.
● Once the interviewee has left the room, fill in the Interview Card and write down those aspects of the interview that have caught your
attention, as well as general impressions that may be significant for the study.
● Each interview must have a code number code (See Interview Card).
● The video recordings must be labelled with the same code number as in the Interview Card and be stored in a safe place and shared following
UPF’s established security protocol.
Media Diaries
● Diaries should be transcripted and uploaded through the secure server.

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Interview Guide
Videogames Content Creation Social Media
1. What do you do with media?
● Can you show me the game that you like ● Can you show me what kind of content ● Can you show me the social media
the most now, and as we see it together, you are making (videos, photos, text), platforms where you participate in
explain how it is, how it works and why it and, as we see it together, explain why and, as we see it together, explain
is your favourite game. you write fanfiction/create music/ make what you do on this social media
● What other games do you like? Do you fan videos/films/comics, etc. platform, what you like about it and
know any other older games of the same ● Tell me what TV show are you watching the features you use most…
kind? now/what is your favourite music/film/ ● Tell me who you follow on social media
We recall that the research includes all book and through what media you and why ...
types of videogames (on mobile devices, follow it.
game consoles, computer, etc.).
2. How do you do things with media?
● How do you like playing videogames? Do ● How do you make your stuff? Are you ● If you create and share your own
you play them with friends? On-line? creating content with friends or videos and photos on social media,
Offline? Can you tell me how you organize alone/with partners/acquaintances? how do you do it?
and plan the game, roles, etc? ● Do you take content from other users or ● Do you share videos spontaneously, or
● Tell me about your favourite video game official spaces (photos, videos, do you plan them out first?
rules, what should be done to win? Who is commercials, music) and mash them up ● Do you edit/modify the photos/videos
the hero / heroine of this game? to create new things? that you upload? What programs do
● Does the game have any remarkable ● What software do you use? Why? you use to do it?
59
qualities that you want to consider? ● What issues are important to you when ● Do your produce your photos/videos
you are creating? alone or with your friends/peers?
See how they plan stuff out, and if they

consider creative and aesthetic aspects.
3. How did you learn?
● How did you learn to play videogames? ● How did you learn to create/share ● How did you learn to to use social
How did you learn about the rules of your content? media?
favourite video game? ● What software or platforms do you use? ● When did you decide to create your
● Do you usually read the game ● How did you learn to use it? Have you social media account? Did someone
instructions? Do you learn while you play? learnt it yourself? Or someone taught teach you how to do it? Who?
Do you look for guidance on the you? ● Are you inspired by someone (friend,
Internet...? ● How do you solve the problems? Do you celebrity, etc.)? See if the participant
● If so, what websites, YouTube channels watch videos on YouTube or other follow trends or patterns of use
and other online resources where help is platforms? (influencers)
offered to play videogames do you know ● Have you learnt through the Internet ● Do you use social media to be
and use? (YouTube videos, tutorials, etc.) Could informed about the world? Do you
● When was the last time you've got "stuck" you show me? How did you get them? cross-check the information you
in a videogame but succeeded in the end? ● If you have learnt any other way? Could receive through social media with the
What happened? How did you manage to you explain it to me? information from other media? Which
overcome the problem? If necessary, add other questions to media? Why do you do it? In this part
● Have you ever cheated to advance in a investigate informal learning strategies. you can introduce questions about
video game? When? Why? Where and Besides the role of peers and online mobile apps:
how did you find this information? communities, investigate the role of ● Could you show me the apps you have
● What do you think about cheating to parents in the process of informal on your mobile? (if they have them )
move forward? Do you think there are learning. Which ones are your favourites?
times when it can be justified? ● Did somebody recommend you these
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● What is the last game you bought or apps? Or did you discover them alone?
downloaded from the Internet? What Have you customised these apps?
criteria did you use to choose it? Did you ● What do you consider when you chose
read any review before buying it? an app? Ask the interviewee about
their mobile and other devices they
Besides the role of peers and online use (technological knowledge).
communities, investigate the role of Beside the role of the communities,
parents in the process of informal investigate the role of the parents in
learning. the process of informal learning.
4. How do you share?
● Do you share your experiences, points of ● Do you share your creations on the ● What do you like to share on social
view and comments on the game on social Internet? If you do, show me what media? What are your goals when you
media? On which platforms? social media, websites and blogs you share something?
use.
● Do you keep any Whatsapp groups with ● What meanings do you want to convey? ● What things do you consider when you
friends on videogames? Do you use social What are your goals when you create or share stuff? Are you aware of the
media for videogaming? share stuff? Fun, entertainment, art, comments and likes? Why?
knowledge?
● Have you ever posted information on the ● Do you like to discuss things of others’
Internet to help other players to pass a ● Do you want to share your values with stuff on social media? Why?
level, or to show a gameplay of yours or others some values?
some game features? If so, please show an ● Do you only follow people you know or
example of the things that you posted. ● Do you look for information related to do you also follow unknown users?
your favourite stories/ or fan-made If you follow the latter, how do you
● Why did you post this information? Did you stuff online? Can you show me where choose who to follow?
get any comments, likes, etc.? to find it?
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● Are you a fan? Do you participate in ● Do you share information from other
forums or social media related to your users with your contacts?
favourite shows/films/bands?
● Is there something that bothers you
● Do you follow your favourite actors, about social media? For example, does
films, celebrities, etc. on social media? it bother you that your contacts share
Can you show me some examples? or tag pictures of you without your
permission?
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FIELDWORK TOOLKIT
MEDIA DIARY

Project Full Title: TRANSMEDIA LITERACY. Exploiting transmedia skills
and informal learning strategies to improve formal
education
Type of action: RIA
63
PERSONAL DIARY– MEDIA USE
DATE What did I do with media? With whom? Comment away!
Example: I checked Instagram to see what my friends are up to. I commented on their
Monday pics and I liked a hilarious one. I like Instagram, I follow my friends and also
Morning some celebrities like Kendall Jenner because I like her pics.
Monday I played Call of Duty online with some friends that I met online. We have four
After School gameplays left but then I went grabbing some lunch. I like playing with
people I’ve met on the Internet. Then studied for a while. Later I watched
some vines.
Monday After dinner I saw ‘Pirates’ on telly. I facetimed with my friends while
Evening watching it and with my brother, he likes the series, too. Then I listened to
some hip hop tracks before turning in.
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ANALYTICAL TOOLKIT
DATA PROCESSING AND CODIFICATION PROTOCOL I

Type of action: RIA
65
DATA PROCESSING AND CODIFICATION PROTOCOL I
Once the fieldwork is finished, each local team should follow the present protocol for data
processing and codification (questionnaires, interviews, research notes, photographs, etc.). This
document includes:
Section 1: Instructions for uploading the documents to the secure server.
Section 2: Instructions for questionnaire data processing.
Section 3: Instructions for uploading materials to NVivo.
Section 4: Instructions for case creation (NVivo)
Section 5: Instructions for interview data processing.
Section 6: Instructions for media diary data processing.
Section 7: Instructions for workshop data processing.
IMPORTANT!
1. Operating system for data analysis. Data analysis will be performed with NVivo 11 Pro
For Teams. It requires Windows 7 or higher. NVivo present some problems with Mac so
we DO NOT recommend it.
2. Working language for data analysis. The analytical categories of the project will be in
English but each country will transcribe and process the data in its original language
(English, Portuguese, Italian, Finnish, Catalan, and Spanish). In other words: the different
textual fragments will be catalogued in the language they have been collected but the
analytical categories will be in English. In the first phase, the researchers must NOT
translate the transcript. Later, during the phase of data analysis and article/books
writing, specific textual fragments may be translated into English for analysis and
publication.
3. Please print the present protocol in colour. There are many IMPORTANT coloured
indications that may disappear in a black and white copy.
4. Please remember to save your NVivo session every 15 minutes approx. NVivo lags very
often.
If you have any question about this protocol,

please contact Elisenda Ardèvol: eardevol@uoc.edu
66
1. UPLOADING DATA TO SECURE SERVER

Once gathered, the research documents (video, photos, reports, etc.) must be introduced in the
UPF secure server.
Attention!
Only the Principal Investigator (PI) from each country will have access the folder. You have
already been sent an email with a protocol that explains how to access the folder and get
the access passwords.
Each country/partner folder is located at UNICA / TRANSLITERACYH2020. We have created a folder

for each national research team: just save your data and materials in it.
UNICA
TRANSLITERACYH2020
AUSTRALIA
COLOMBIA
ESPAÑA
FINLAND
ITALIA
PORTUGAL
UNITED KINGDOM
URUGUAY
Each national research team organises the data in their country/partner folder according to the
following order:
SPAIN
SCHOOL 1 (Name of the school and city)
1. QUESTIONNAIRE
SECOND COURSE ESO
Anonymization_10_2_2 (Anonymisation_Country_School_Class)1
Database_Questionnaire_10_2_2
(Database_QuestionnaireCountry_School_Class)
1
For the coding of all materials into the secure server please check the Data Codification Document that has been used
for entering the Questionnaire data to Excel (see FIELDWORK TOOLKIT).
67
2
FIRST COURSE BACHILLERATO
2. INTERVIEW AND DIARY
SECOND COURSE ESO
PARTICIPATORY CULTURE
INT_10_01_OO6_MG
(INT_Country_School_Student_Researcher)
This folder contains the interview and the diary. One
single folder for each interview.
3
VIDEOGAME
4
3. WORKSHOP
SECOND COURSE ESO
PARTICIPATORY CULTURE
VIDEO SESSION 1
VIDEO SESSION 2
PARTICIPANTS PRODUCTIONS
WOR_10_1_2_PC_MJM
(WOR_Country_School_Class_TypeOfWorkshop_Researcher)
Word con las notas del taller de las dos sesiones
5
VIDEOJUEGO
6
7
SCHOOL 2
2
Data must be introduced following the same process as in SECOND COURSE ESO above: one Excel with all the
anonymisation and one Excel with the database.
3
Data must be introduced following the same process as in PARTICIPATORY CULTURE above: one folder per interview
including interview and (if that is the case) media diary.
4
Data must be introduced following the same process as in SECOND COURSE ESO above: one folder for PARTICIPATORY
CULTURE and another one for VIDEOGAMES.
5
Data must be introduced following the same process as in PARTICIPATORY CULTURE above: one folder per each
workshop session and another one for the participants’ productions.
6
Data must be introduced following the same process as in SECOND COURSE ESO above: one folder for PARTICIPATORY
CULTURE and another one for VIDEOGAMES.
7
Data must be introduced following the same process as in SCHOOL 1 above: one folder for QUESTIONNAIRE, one for
INTERVIEWS and one for Workshops. Each one of them is divided into the corresponding class.
68
This procedure is done with the aim of safeguarding all data in a safe place. In any case, we
recommend each team to process the different documents locally.
The documents stored on local computers for data treatment CANNOT be sent or shared by
email, Dropbox or similar platforms (they contain personal data of participants). They can be
transferred from one PC to another only using external cards or memories, which must be
stored in a secure and locked place.
Once definitively uploaded to the server, the original videos should be removed from all
computers at the end of the project.
Due to UK legislation, the Oxford Internet Institute will not share the videos on the secure
server (only the transcripts).
69
2. QUESTIONNAIRE DATA TREATMENT

Once questionnaires are anonymised and data entered in an Excel worksheet, upload it to the
secure server following the instructions in Section 1 Upolading data to secure server (see Image 1).
The cataloguing of the open questions will be done at the UPF-Barcelona through NVivo. The
quantitative treatment of all the data will also be done at the UPF-Barcelona through SPSS
statistical software.
In parallel, each country may treat their local data with any other tool.
Image 1: Example of an Excel file to be uploaded to the secure server.

70
3. UPLOADING MATERIALS TO NVIVO: RESOURCES

The first step to work on NVivo is to import the different kind of materials:
- Open the shared project included in the NVivo data analysis kit (TransliterayH2020). See
instructions to open de project in attached document NVivo Server.
- Import the documents (photos, videos, researcher's notes, etc.). In the menu, go to
“DATA” (“Datos” in Spanish) and import the different documents.
The documents must be introduced and organised as follows:
In the shared project (TransliteracyH2020), inside Internal Elements (Elementos Internos) (Sources)
there is a folder for each partner/country (see Image 2):
Image 2: Document organisation by countries/partners.
Inside each country/partner folder there are subfolders where you can enter and organise your
documents. There are 3 different folders for organising the documents: Interviews, Videos and
Workshops. Image 3 shows the organisation of documents inside each country/partner folder:
71
Image 3: Country/partner’s document folders.
You should upload the following documents to each folder:
● Interviews: In this folder you should introduce Word documents with the interview
transcripts and media diaries. To enter these documents into NVivo database, first they
must be transcripted (in NVivo or Word).
For the transcription of the interview please check section 5 Interviews / Transcription
(page 14, 15, 16 and 17). MS Word documents with the interviews must be named
following the usual protocol.
Example: INT_10_1_006_MG (IMA_Country_School_Student_Researcher)
For the transcription of media diaries please check section 6 Media Diary/ Transcription
(page 21). MS Word documents with the media diaries must be named following the usual
protocol.
Example: DIA_10_1_006_MG (DIA_Country_School_Student_Researcher)
● Videos: This is a storage folder. This folder includes the interview and workshop videos
that will be transcribed later.
Workshop videos: check the workshop field notes in Section 7 Workshops. This section
contains the videos that will be transcribed and, therefore, those that must be uploaded
(page 22 and 23).
The videos must be named following the usual protocol.
Example:
WOR_10_1_2_PC_MJM (WOR_Country_School_Class_TypeOfWorkshop_Researcher)
Interview videos: the videos must be named following the usual protocol.
72
Interviews: INT_10_1_OO6_MG (IMA_Country_School_Student_Researcher)
Please remember: these videos are the basis for the transcription indicated in the
corresponding item of each type of document. These videos SHOULD NOT be coded:
only their Word transcripts. These transcripts will be located at the Interviews and
Workshops folders.
Attention!
Sometimes NVivo does not recognise the media file format. In this case, you must
install the appropriate codecs for video importation. In this link you can find some:
https://www.download.hr/software-k-lite-mega-codec-pack.html
● Workshops: This folder contains the workshop notes and transcripts (MS Word) and
photos (JPG, etc.).
Workshop documents. The notes taken by the researchers must be complemented with
the transcription of the videos recorded during the workshops. The MS Word documents
uploaded in this folder must contain a combination of workshop notes and transcripts of
the key moments of the sessions. The workshop protocol in Section 7 includes the steps
for creating this MS Word document (page 22 and 23) Therefore, to upload these
documents to NVivo, you first have to transcribe the workshops.
The workshops must be named following the usual protocol. Example:
WOR_10_1_2_PC_MJM (WOR_Country_School_Class_TypeOfWorkshop_Researcher)
Workshop images. Upload the workshop images (JPG, PNG, etc.) as indicated in Section 7
Workshops /Maps made by the participants, page 25).
The images must be named following the usual protocol. Example:
IMA_10_1_2_GAME_MG_4
(IMA_Country_School_Class_TypeOfWorkshop_Researcher_Number)
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4. CASE CREATION ON NVIVO

Within NVivo, nodes represent people, organisations or other "cases". When a CASE node is
created, attributes can be assigned to it. For instance, age, sex or occupation. Later, these
attributes can be used to do comparative queries. For the project, attributes have already been
created by the Barcelona team but, still, each partner should select them among the different
options available and assign them.
In our project, a CASE node should be created for a) each individual (interviewee) and b) each
workshop.
a) Individual - Interview + Media Diary

Each interviewee will be processed as CASE. This case will include both the corresponding
interview transcript in Word and (if applies) the corresponding media diary made by the same
person. It is necessary that both documents have already been uploaded in the Interviews folder.
(Please remember that to do so, you will have to transcribe it first. For the interview check section
5 Interview/ Transcription, page 14, 15, 16 and 17)
But, how do we create a case with two different documents? To join the Interview Word
Document and the Media Diary Word into the same CASE, you should do as follows:
Step 1: Select the two Word documents for the same person that have been previously uploaded
in the Interviews folder. Once selected, click on the right mouse button. Select the "Create As" and
then "Create As Node" (see Image 4).
Image 4: Case creation based on two different files.
Step 2: On the opening screen, the CASES (“Casos” in Spanish) folder is selected, as shown in
picture 5.
74
Image 5: Case creation based in two separated files.
Step 3: On the next screen that opens you are asked to assign a name for this Case. Cases for
interviewee will be named according to the usual coding system of the interviews. Example:
INT_10_1_006_MG (IMA_Country_School_Student_Researcher).
Image 6: Assign a name to the case created.
Step 4: Now, you need to classify the CASE as a PERSON. To do it, access the CASES folder on
NVivo. Select the case you just created, click on the right mouse button and select the
“Classification” option and then “Person”.
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Image 7: Classifying the Case as Person.
Step 5: This is the last step. Go to “Case classifications” and double click on “Person”. A tab will
open and you will be able to see the attributes available to classify the cases. (See Image 8).
Image 8: Person Case with attributes.
● Selecting attributes for person cases
For the Person Cases, attributes have been added to make our collaborative work easier and more
consistent. You just need to select them:
Name: Jenny (we will ALWAYS use a pseudonym)
Country: Spain/ Italy / UK / Finland, etc.
Gender: Female / Male.
Age: 14 (or 15, 16…)
School: España 1_Puigvert (or España 2_Dominiques, United Kingdom 1_NameOfSchool, United
Kingdom2_NameOfSchool, Italia_NameOfSchool…)
Class: Junior (or Senior)
Type of School_Funding: Private /State / Double funding
Type of School_Space: Urban / Rural
76
Notes about attributes

1. If you notice there is an important or interesting attribute missing in our database
that fits your country or community, please e-mail carlosalberto.scolari@upf.edu
for us to add it.
2. Please notice that in the “Class” attribute there are two possible values. “Junior” and
“Senior”. Junior refers to the class with younger students and senior to the one with
older students. Make sure every class is classified correctly.
3. For the “Type of School_Funding” you will discover that there is a “Double funding”
attribute. We used this to classify schools in Spain, where there are schools that are
funded with private and public funds.
b) Workshops
As indicated before, every workshop will also constitute a CASE. This CASE will include the Word
document where field notes and transcripts of the workshop were added (see section 7
Workshops, page 22 and 23) , as well as the images produced during the workshop (see section 7
Workshops, page 25). All these materials should have been uploaded previously in the Workshop
folder. Remember that to create them as a Word Document, first you should have transcribed
these workshop materials (see section 7 Workshops, page 22).
But, how to do we manage to create a Workshop case with two different documents? In exactly
the same way we did with the interviews in the subsection above. You have to follow Steps, 1, 2, 3
and 5. Just notice that in Step 4 you need to select “Workshop” (See Image 9).
Image 9: Case with attributes.

77
Naming Workshop Cases (please notice that is different from Interview ):

EXAMPLE: WOR_10_1_2_PC_MJM (WOR_Country_School_Class_TypeOfWorkshop_Researcher)
● Selecting attributes for Workshop Cases
Workshop Cases have also attributes (See Image 10).
Image 10: Workshop Case Attributes
On the following list, you can see the attributes available for Workshop Cases (some of them differ
from the Person Cases):
● Type of Workshop: Videogames / Participatory Culture

● School: España 1_Puigvert (or España 2_Dominiques,
● UK 1_NameOfSchool, UK2_NameOfSchool, Italia_NameOfSchool…)
● Class: Junior / Senior
● Country: España/ Italia/ UK/ Finland etc.
● Type of School_Funding: Private /State / Double funding)
● Type of School_Space: Urban /Rural
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5. INTERVIEWS
Step 1: TRANSCRIPTION
There are two options:
Option 1: Transcribe the interview in Word indicating the input and output timespan as indicated
in Table 1 and then upload the file Word to NVivo (it must be incorporated into the appropriate
folder, as indicated in section 3 Uploading materials to NVivo/ Interviews, page 7).-
Option 2: Select the video in NVivo (previously uploaded) and transcribe the interview with the
program. Once transcribed the interview, the Word document is saved and upload to NVivo
textual resources (as indicated in section 3 Uploading materials to NVivo, page 7).
To transcribe in NVivo, follow the steps listed below:
• Open the selected interview (audio + video).
• Click on Edit (above the timespan). You can see two columns: one for the input and output
timespan and the other to write the transcript down.
• In the top menu, see some important icons (see Image 11). For the transcription you have to
click the small pencil icon (indicated by an arrow). You will also need Play / Pause is used to stop
and replay the video during transcription. Use the Stop ONLY when you want to create a new unit
of time. The program provides a feature to enable slow voice transcription.
Image 11: Transcription screen on NVivo.
At the end of the transcript process, you can generate a Word document with the full transcript of
the interview. By clicking on the right button of the mouse a menu is displayed to save the file in
different formats; choose Word. It is this document which we will use for coding. NVivo allows us
to export the entire transcript executed in the program as Word.
79
Figure 12 and 13: Example of the generation of a Word document from the interview transcript in
NVivo.
Please remember: For coding we will only use the Word-generated transcript document. It is
important to save it in its corresponding folder resources (as indicated in section 3 Uploading
materials to NVivo/Interviews, page 7).
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Indications for transcription
The transcript must follow these guidelines:
1. The interview is transcribed in natural language and as literal as possible.
2. Use punctuation signs as minimum as possible.
3. Perform transcription creating units by subject or related questions blocks. Pause and begin a
new unit after a long paragraph or a significant change of theme.
4. The interviewer's questions should appear abbreviated in brackets.
5. We will also use brackets for those comments deemed relevant for understanding what the
interviewee is doing [actions, movements, pauses, silences, showing website ...].
Table 1: Fragment of a transcript from a Participatory Culture interview.

Minutes Transcript
00:00-05:25 [What do you like to do now?] In wattpad I write my stories and I think there are
people who see and comment. [And what story is it?] In my stories there is romance.
It's a girl arriving at school and meeting a boy. There are videos and songs to
complement the story. I'm posting chapters and now I left it at chapter 7 because
there are exams. [And how long are these chapters?] For a few thousand or so words.
The last chapter, I posted it a month ago. [How do you share?] [She shows the
application on the screen] If I write a chapter, I click onto publish so that people can
see it. So far only one person has told me something, I used his name, because he was
my best friend but now lives in Valencia. And he was angry because he got his name
there. My friends did not comment much, they comment by whatsapp, and tell me
that it is very cool, that I should keep posting. [Silence]
05:26-09:10 [And what else do you do?] I also have a fashion website called Polyboard where I
post my outfits. [What tool did you use? Wordpress, Blogger?] No, it is a direct
application. I do not know how to explain it. [She types in the name of the application
on the computer and shows it] So here I have the notifications of people who see me,
those who follow me, etc. Right now I only have three followers because I created it
just two days ago. [She shows a freestyle set of clothes on the screen]. These are my
outfits. This one is to go to school with a touch of makeup, to keep it casual when you
do not want to go too dressed up. If you click on the clothes you can see what
everything costs. I started three days ago. A friend of mine told me by “whats”
[whatsapp] to look at her blog that had created anew. And I said ah! But where is this?
And she said it was an application that you could ... well, she explained me everything.
This application is for mobile and PC. I started on the mobile.
Table 2: Fragment of a transcript from a Videogames interview.

[Interviewer’s introduction and presentation of the interview] [And what are you
00:00-06:55 playing at now?] I play a lot at Clash of Clans and GTA Grand Theft Auto and ...
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because my friends liked much lately Clash of Clans and they told me to join their clan
to play with them and I am slowly going forward. I’m doing my missions in GTA and
then I play online with my friends. Since I was going online and playing with my
friends. [And what is your favorite video game?] It is just… I do not know because
there are many but I liked the Pokemon. Since I was a kid [Why?] I do not know
because once when I was 5 years old my parents gave me my first Gameboy including
the Pokemon game, and I started playing it and I liked it and my classmates also had it
and because every time there was a new release, I would buy a new one and I ended
up learning all pokemons and I liked a lot. [Also you read any comic or so?] No, I
watched the cartoons on the tv ... [Can you show me in the computer how any of
these games works?] Ok, no problem. [We go to the computer, wait for it to turn on
and the star looking for games]
08:26-09:10 [And how did you learn to play GTA?] Alone. It is true because I didn’t know very well
how to play and the hardest thing was learning to drive because the control buttons
are very sensitive and whenever I tried spinning I crashed because I had forgot it was
such a sensitive control. I was a disaster at driving at driving but it isn’t now. [Do you
look for Forums?] No, sometimes I watch some tutorials to accomplish a mission if I
get stuck or something and I don’t know…. I look at Youtube and type in "tutorials"
and look for the one that convinces me, I also look at the comments to see if it is good
and if it works and is ... [silence, shows a game on the screen] [And when was the
last time you've got stuck?] A month ago or so in the Lord of War, because I was on a
mission where you had to break some chains and I didn’t know how to do it, but you
had to stop time and then you go through … I looked at Youtube, of course. I do not
remember what it was. But I passed. [Have you ever cheated?] Well, I have...
Step 2: CODING
Please remember: Before coding the interviews, we should have created the Interview Case with
all its associated documents (interview transcript and media diary transcript). See Section 4 Case
Creation on NVivo/Interviews, page 9, 10 and 11.
Coding interview with descriptive categories
Once the transcript of the interview is entered as a Word document into the software and coded
as a Case (along with the transcript of the media diary), we move to the next phase which is coding
or categorization.
It is convenient to have a printed sheet of the categories’ table next to the PC to go faster in
choosing categories that fit the text unit. Categorization allows you to define and conceptually
organize units of meaning related to the same idea, concept or meaning. They may refer to
situations, contexts, activities, events, relationships, behaviours, opinions, feelings, methods,
strategies, processes, etc. In our case, the category table corresponds roughly to the questions
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asked in the interview: What are you doing? How do you do it? And how did you learn to do it?
See Appendix for a table of the descriptive categories (Appendix_Descriptive_Categories).
For descriptive categorisation we must take large text units and avoid marking just a word or
sentence. Place them into their context. A text unit is a set of sentences or a paragraph that makes
sense for itself. The same text unit can have multiple nested categorisations. Don’t worry about
this, on the contrary, it is a sign that this unit is very significant for our research.
Table 3: Coding a Participatory Culture interview

Text unit 1 It is important to mark both the main
categories and the nested ones. All text is
marked and coded according to the
different categories:
[And what else do you do?]I also have a fashion website 1. What do you do
called Polyboard where I post my outfits. [What tool did 1.4. To create, to do, to remix
you use? Wordpress, Blogger?] No, it is a direct 1.4.4. Visual_drawings,
application. I do not know how to explain it.[She types in paintings, photos
the name of the application on the computer and show
it to me] So here I have the notifications of people who
see me, those who follow me, etc. Right now I only have
3. How do you do it
three followers because I created it just two days ago.
3.1 Description
[She shows a freestyle set of clothes on the screen].
These are my outfits. This one is to go to school with a
3. How do you do it
touch of makeup, to keep it casual when you do not
3.5. Via
want to go too dressed up. If you click on the clothes you
3.5.1. Online
can see what everything costs. I started three days ago.
A friend of mine told me by “whats” [whatsapp] to look
at her blog that had created anew. And I said ah! But 4. Why do you do it
where is this? And she said it was an application that you 4.1 Recommendation / influence
could ... well, she explained me everything. This 4.1.2 Friends
application is for mobile and PC. I started on the mobile.
Table 4: Coding a Videogames interview.

Text unit 2 The same text unit 2 is categorised into 5
categories as follows:
[And do you play now?] I play a lot at Clash of Clans and 1. What do you do?
GTA Grand Theft Auto and ... because my friends liked 1.2. To play
much lately Clash of Clans and they told me to join their 1.2.1. Videogames_PC, Console
clan to play with them and I am slowly going forward. 1. What do you do
I’m doing my missions in GTA and then I play online with 1.2. To play
my friends. Since I was going online and playing with my 1.2.1.Videogames_Mobile
friends. devices
4. Why do you do it?

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4.1. Recommendation/influence
4.1.2. Friends
3. How do you do it?

3.4. With whom
3.4.2 With friends
3. How do you do it
3.5. Platform
2.5.1. Online
Possible problems:
What happens when we find something significant, such as a sub-category, which is not in the
category list? Then we have to put it in the ‘mixed bag’ marked as "Other" from the largest
category to which we think it belongs. If it does not correspond to any larger category, we will put
in the ‘mixed bag’ at the end of the table. Please remember: we must write a memo in NVivo
explaining the case.
Table 5: Example Videogames.

The truth is pI lay a lot because I 4. Why do you do it?
am hooked so I play a lot. I come 4.4. Others
home and while eating I watch a
videogame. Memo:
The interviewee admits that he is "hooked" meaning that it is
something he cannot control, then, he is not gaming for
pleasure or boredom. Could it be considered as an "obligation"
and go in the 4.2 / 4.2.8 Obligation? At the moment I put it into
"Others".
Table 6: Example Participatory Culture.

I like fashion and I have a blog where I create 1. What do you do?
my trendy outfits. I like to go shopping. I get 1.8. Others
ideas for my collections. I like soft colours, Memo: In this interview, a question has come up,
black, white… In my blog, here you see I since she likes to "Write" (1.4./1.4.1) but what
combine black pants and a black dress with a matters for her is to create her fashion blog and she
touch of white. like to show the fashion sets she is making. That's
not to write or to make costumes, or clothes, but
her interest is fashion and she created a blog for
that, then: How I should reflect this in coding? I
code it as “other”.
Once the coding is done, the interview is ready for analysis.

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6. MEDIA DIARY
Step 1: DOCUMENT PREPARATION
The media diary will be treated as a Word document. In order to do this, first we need to
transcribe the information contained in the media diary into a Word document. We will do a
verbatim transcript of the document, as can be seen in Table 7. Timespans will be placed within
square brackets ([]).
Table 7: Fragment of a media diary transcript in a Word document

[Wednesday Afternoon] I play Minecraft and I look at Instagram
[Friday Afternoon] I play Star Wars and I check WhatsApp
[Saturday morning] I play Minecraft and I chat
This document must be uploaded to NVivo within the appropriate folder (See section 3 / Secure
Server Data Introduction / Media Diary / page 7).
Step 2: CODING
Please remember: Before coding the media diaries, we should have created an Interview Case
with all its associated documents (interview transcript and media diary transcript). (See section
4 Case Creation / Interviews, page 9, 10 and 11).
The coding process will be made using the same parameters as in the case of the Word documents
of workshops and interviews.
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7. WORKSHOPS
Workshop information includes three kinds of data:
● Photos (media consume maps, videogames and social networks)

● Videos (workshop development)
● Field notes
The following section explains how to work with the workshop field notes (transcription, coding,
and coding categories). The second section explains how to work with photos (transcription,
coding, and coding categories). Videos will be used ONLY as support material for the field notes
WORKSHOP - FIELD NOTES
The researcher has two options:
Option 1: To only transcribe the most important parts of the workshop in MS Word, combine
these transcripts with previously taken notes, and then upload this MS Word file (with all the data)
to NVivo (the file must be put into the appropriate folder, as indicated in section 3 Uploading
materials to NVivo/Workshops, page 8).
Option 2: To transcribe the workshop directly on NVivo after uploading the video on it. Once the
workshop has been transcribed from the video, transform this document into a MS Word file (see
how to transform documents into MS Word in section 5 Interviews). Download the NVivo
document and combine it with the MS Word document notes previously created. Merge both
documents into a single MS Word file and upload it to NVivo (the file must be put into the
appropriate folder, as indicated in as indicated in section 3 Uploading materials to
NVivo/Workshops, page 8).
For the transcripts...
As noted above, the field notes taken during the workshop sessions should be expanded with the
information recorded on the video to make a single MS Word document for each workshop. The
video recording of the workshop is a support that complements the field notes. You SHOULD NOT
transcribe the whole content of the video. We just have to improve or expand the workshop field
notes regarding:
● Learning and collaboration strategies during the workshop (Hands-on)

● The productions that have been created (Sharing)
● Media, games and application knowledge and management (Mapping)
The following (Table 8) is an example of a transcript that combines the two types of documents
(field notes taken at the workshop + transcripts from the videos recorded during the workshop).
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Video transcripts (blue) must be enclosed in quotes ("..."). To be more exact in the transcripts, it is
necessary to follow the instructions for Interviews transcripts (see section 5
Interviews/Transcription, page 14, 15 and 16).
Table 8: Example document with field notes + expanded video data obtained in the Participatory
Culture workshop.
Group integrated by Alba, Ana, Lucía, and Sara. They are placed on a computer and accessing Google
Images and look for film images from Pitch Perfect. Their intention is to make a "photo story" using
Paint. During the process, all of them give their opinion on what photos to choose and what to put
inside the dialogue clouds.
Alba says: "Of course I can use other programs, I have edited photos other times, what happens is
that the Paint is easier", something that others agree. In this sense, Sara says it is "difficult to find the
idea”. Alba says she has not seen the movie, but she solves the problem of inserting the text in Paint.
Participants are discussing the uses that they give to each social network while Ana, Lucía and Sara
are responsible for drawing the map of networks based on the opinions of peers. "Gossip" is the most
repeated word when it comes to talking about the use that is given to social networks. Several
participants highlighted the “reminder” feature of Facebook (you meet, events ...).
The first social media to come out is Instagram, followed by Facebook, Whatsapp, Youtube and
Snapchat, in that order. About Snapchat they say it is to "share the moment". Lucía says about
Facebook: "it is to gossip and talk when Whatsapp is down"; "To remember the important things" Ana
adds: "for birthdays" (...) And others follow: for "watching News", "following pages". Sara mentioned
Pinterest to "get ideas for gifts, decoration and fashion".
Attention!
Use quotes “...” to transcribe the participants’ verbatim expressions.
Table 8 is an example from the Participatory Culture workshop. Follow the same procedure for the
Videogames workshop.
Step 2: CODING
As noted above, the definitive Workshops document must be saved in a new MS Word document
placed in its appropriate folder (see section 3 Uploading materials to NVivo, page 8). Later, the
team will code these MS Word documents, NOT the videos!
Please remember: Before coding the workshop field notes, we should have created a “Workshop
Case” including all its associated documents (see section 4 Case Creation on NVivo/ Workshops,
page 12 and 13).
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Step 3: CODING CATEGORIES
For the coding of the workshops we will use the categories Table (see Appendix - Descriptive
Categories), paying special attention to the categories related to: What you do (1); What (2); How
do you do (3) How did you learn it (5).
It is convenient to have a printed document with the categories to go faster in choosing the best
categories that fit the text unit. Categorisation allows you to define and conceptually organise
units of meaning connected to the same idea, concept or meaning. They may refer to situations,
contexts, activities, events, relationships, behaviours, opinions, feelings, methods, strategies,
processes, etc.
For descriptive categorisation we will select large text units, avoiding the selection of single words
or phrases. A text unit is a set of sentences or paragraphs that makes sense for itself. The same
text unit may have multiple nested categorisations. Do not worry about that: it is a sign that this
is a very significant unit for the research. See the next example:
Table 9: Example of workshop data coding in NVivo.

Text unit n. 1:
The same text unit n. 1 -in grey- is

categorised under n. 4 categories as
Each colour corresponds to a category, but in any case
follows:
what is categorised is the whole unit text.
In the end they went for karaoke spoof of the What does 1.What do you do
the fox say? song. 1.4 To create, to do, to remix
1.4.2 Audio
Amongst all they write a lyric referring to taglines that
teachers make during the class (“Homework, 3. How do you do it
homework...”). While singing, Ana said “guys you have to 3.4. With whom
be more enthusiastic” 3.4.2. With friends
They couldn't find any app to do voice edition Ana 3. How do you do it
downloaded only What does the fox say? music in her 3.3. Ways of collaborate and
mobile phone and did the voice recording with another participate
mobile phone. 3.3.3. Collaboration
2. With what
2.3. Others
2.3.1 Mobile phone
5. How did you learn to do it?

5.2. Strategy
5.2.4. Search for solutions with
available materials
Table 9 is an example of coding belonging to the Participatory Culture Workshop. In the case of
videogames, we will follow the same procedure.
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MAPS MADE BY THE PARTICIPANTS- Treatment of images.
During each workshop participants have taken pictures of every mapping made on media routine,
videogames routine and their use of social media. Those pictures are useful to get into the
participants’ media environment and we manage them as follow:
- When the image is on the screen. Click on Edit.

- On the side pop up a chart divided between Regions and Content
- Select the portion of the image that we aim to codify. Transcribe literally the selected
excerpt on Content column. Click on Edition Icon that is located at the top of the row that
you are working on. Image will appear as thermal vision.
- Click on Assign regions to rows and the image will get coordinates.
- Proceed to the next excerpt that you want to enter and repeat the same procedure.
Image 14: Example of an image transcript.
Image 15: Example of an image transcript.

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Step 2: Coding
Please remember: Before image coding we have to make the workshop case and link all its
related documents. Remember that all images have to be linked to the Workshop Case (see
section 4 Case Creation/ Workshops, page 8)
To code click on row number, selecting the whole content. Then click on Analyze and select node
that you consider appropriate. Also it is possible to drag the selected elements into the node
placing the unit in there.
Warning, in order to facilitate the documentation of workshop images we suggest that the routine
media units would be placed mainly under the category What do you do? (1). Whereas social
media units could be placed mainly under the category Through what? (2).
Image 18: Detailed example of an image transcript belonging to a Participatory Culture workshop.
Table 10: Example of map coding in NVivo.

Region 1 is categorised as follows:
1. What do you do
1.1. To see, to watch, to listen
1.1.1 Films
1. What do you do
1.1.2 Series
Region 2 is categorised as follows:

1. What do you do?
1.1.5 Music
Table 10 is an example of map coding belonging to Participatory Culture Workshop. In the case of
videogames we will follow the same procedure.
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ANALYTICAL TOOLKIT
APPENDIX – DESCRIPTIVE CATEGORIES

Type of action: RIA
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Descriptive Categories
Node 1 Node 2 Node 3 Examples
1.1.1. Films 1.1.1. This year I have watched “Batman & Superman”.
1.1.2. Series (TV, animation) 1.1.2. I love “Game of Thrones”.
1.1.3. Youtube (video platforms) 1.1.3. I watch booktubers to know what to read… For example, when I do not
know what to read I watch “The collector of worlds”, my favourite booktuber.
1.1. To see, to 1.1.4. Celebrities
1.1.4. I follow the actors of “Hawaii 5.0” on Facebook.
watch, to 1.1.5. Music
1.1.5. I listen to music when I'm doing homework.
listen 1.1.6. TV & radio shows (reality
1.1.6. My mother watches a TV show every afternoon and sometimes I watch it
shows &, talk shows…) with her.
1.1.7. News & advertising 1.1.7. I go at my grandparents' house to have lunch everyday and we watch the
news while we are eating
1.2.1. Videogames (PC, consoles) 1.2.1. I accomplish missions in GTA and play online.
1. What do yo do? 1.2.2. Videogames (mobile 1.2.2. I like “Clash of Clans”.
1.2. To play devices)
1.2.3. Sometimes I play cards with my family.
1.2.3. Board games
1.2.4. I will buy the action figures of my favourite saga.
1.2.4. Action figures
1.3.1. Books 1.3.1. I have “Pride and Prejudice” and now I have that movie about Mars that has
1.3.2. Comic / Manga just come out.
1.3.3. User-generated content / 1.3.2. I read “One Piece”.
1.3.3. I never read fan fiction.
1.3. To read fan fiction
1.3.4. I usually read newspapers when I go to my grandmother's house.
1.3.4. Newspapers & magazines
1.3.5. Webs, blogs, forums,
1.3.5. I follow fashion blogs like Dulceida.
email…
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1.4.1. Writing 1.4.1. I create my stories on Wattpad, people read and comment them.
1.4.2. Audio 1.4.2. I might mix some stuff with GarageBand.
1.4.3. Audio-visual 1.4.3. I edit videos with MovieMaker but I never share them on YouTube.
1.4. To create / 1.4.4. Visual (drawings, 1.4.4. My mum and I took this photo the other day and this one is from the
To do / To remix paintings, photos) summer
1.4.5. Costume 1.4.5. My girlfriend and I are preparing our costumes for the ComiCon.
1.4.6. Programming (coding) 1.4.6. Sometimes I get all frightened if they find out that I know how to code.
1.5.1. To comment 1.5.1. You can follow celebrities on Instagram and comment on their photos
1.5.2. To like 1.5.2. She goes to my school but I never like her Instagram pics because she
1.5.3. To tag doesn’t like mine.
1.5.3. I tag my friends as a way to tell that I remember them.
1.5. Participation 1.5.4. To reappropriate
1.5.4. I found this picture on the Internet and I shared it on Instagram to see if
in social 1.5.5. To upload/share/ download
they believe I actually took it.
media content
1.5.5. I share pictures with my friends on Whatsapp
1.5.6. To follow (friends, 1.5.1.6. You can follow celebrities on Instagram and comment on their photos.
celebrities…) 1.5.1.7. I sometimes use Snapchat to chat with my pals
1.5.7. To chat
1.6.1. Cinema 1.6.1. I like movies and stuff but going to the cinema is very expensive
1.6. To attend 1.6.2. Concerts 1.6.2. I attended an Eros Ramazzotti concerts with my mother
1.6.3. Theatre, circus 1.6.3. I also follow a circus blog because I do circus.
1.7.1. Sport 1.7.1.I play roller hockey and I like watching games on Youtube
1.7.2. Scouting 1.7.2. I go scouting on Saturday afternoons
1.7.3. I have a music band with two friends
1.7. Performance 1.7.3. Music 1.7.4. I also follow a circus blog because I do circus
1.7.4. Play (theatre) 1.7.5. My girlfriend and I are preparing our costumes for the ComiCon.
1.7.5. Cosplay
1.8. Others
2.1. Social media 2.1.1. Facebook 2.1.1.. I’m on Facebook but I never check it– I log on maybe once a month.
2. Through what? 2.1.2. I have an app called Twitter and use it to follow celebrities.
2.1.2. Twitter
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2.1.3. Instagram 2.1.3. You can follow celebrities on Instagram and comment on their photos
2.1.4. Snapchat 2.1.4. You can also comment on photos on Snapchat
2.1.5. Whatsapp 2.1.5. I have been on Whatsapp for about a year.
2.1.6. I look up the official website where you can find information about
2.1.6. Fan forums
“Naruto”, “One Piece”.
2.1.7. Youtube
2.1.7. I went on Youtube to learn how to pass this level.
2.1.8. Wattpad
2.1.8. I create my stories on Wattpad
2.1.9. Skype 2.1.9. We talk on Skype while we are playing online
2.1.91. Spotify 2.1.91. I use Spotify everyday in my phone
2.1.92. Tumblr 2.1.92. Many people post their gifs on Tumblr
2.2.1. Writing 2.2.1. Wattpad, Wordpress, Fanfiction.net, Blogger… I'm writing a romance story
2.2.2. Audio-visual on Wattpad
2.2. Apps & 2.2.2. Moviemaker, Emovie, Audacity, Adobe Premier, smartphone apps ... We’re
2.2.3. Graphics gonna edit this video with Moviemaker.
software 2.2.4. Email apps 2.2.3. Photoshop, Illustrator, smartphone apps ... On Instagram I have some apps,
2.2.5. School apps for example, Picsart that allows you to present everything as a collage
2.2.4. I use my Gmail app to send emails to my friends
2.2.5. At school we use an app to submit homework to our teacher
2.3.1. Mobile phone 2.3.1. I can’t download any app so I use my phone’s built-in camera and then I
2.3.2. TV record all the voices using another phone.
2.3.3. Photo/video camera 2.3.2. I watch Hawaii 5.0. on my TV every afternoon.
2.3. Others
2.3.3. My dad always switches on the radio while driving and I listen to it.
2.3.4. Computers
2.3.4. I use my computer everyday
2.3.5. Tablet/ iPad
2.3.5. I would like to use my parents’ iPad but they don’t let me.
2.3.6. Others
3.1. A doctor gives you the first three Pokemons and then you have to write your
3.1. Description name
3. How do you do it?

3.2.1. Time sheet (only for coding 3.2. I didn’t plan to update my Instagram this week but I saw it and said “OK”.
3.2. Routines
media diaries)
3.2.2. Day of the week (only for
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coding media diaries)

3.3. Ways of 3.3.1. Organization 3.3.1. I only play when no one is logged on.
collaboration & 3.3.2. Roles 3.3.2. There are three protagonists.
participation 3.3.3. Collaboration 3.3.3. She makes comments on what I write and helps me out.
3.4.1. Alone 3.4.1. I play alone on the subway, on the way home
3.4.2. With friends 3.4.2. My friends told me to join their clan to play with them
3.4. With whom? 3.4.3. My mum and I took this photo and my cousin edited it.
3.4.3. With family
3.4.4. I never play with strangers
3.4.4. With unknown people
3.5.1. Online 3.5.1. I play online with my friends.

3.5. Via 3.5.2. I meet up with my friends to play some games home.
3.5.2. Offline
3.6. Others
4.1.1. Oneself 4.1.1. Nobody told me to read in English, I did it by myself.
4.1.2. Recommendations received 4.1.2. There are different subnodes here: 4.1.2.1. Friends / 4.1.2.2. Family /
4.1. 4.1.2.3. School and teachers / 4.1.2.4. Internet (online forums, browsers /
Recommendatio 4.1.3. Recommendations given advertising / apps…) / 4.1.2.5. Tutorials & YouTube / 4.1.2.6. Unknown people /
n/influence 4.1.2.7. Media / 4.1.2.8. Celebrities.
4.1.3. There are different subnodes here: 4.1.3.1. Friends / 4.1.3.2. Family /
4.1.3.3. Schools and teachers / 4.1.3.4. Unknown people.
4.2.1. Pleasure & entertainment 4.2.1. It makes me laugh

4. Why do you do it?
4.2.2. Curiosity & gossip 4.2.2. I go on Facebook to snoop around
4.2.3. Boredom 4.2.3. As I was bored. I took a picture of a lamp post and posted it.
4.2. Motivation 4.2.4. My friends told me to join their clan to play with them.
4.2.4 Relations with other people
4.2.5. I check my boyfriend’s Instagram to know what he is up to.
4.2.5. Environment and
4.2.6. I put a lot of tags so that I get more likes.
relationships control
4.2.7. I like to win at GTA.
4.2.6. Popularity 4.2.8. When there is a clan war, I have to attack and then I'm really hooked.
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4.2.7. Competition 4.2.9. The guys in “Merli” are our same age.
4.2.8. Obligation 4.2.91. I follow National Geographic’s Instagram because I care about nature.
4.2.9. Identification 4.2.92. They gave me the Gameboy and Pokemon was included on it.
4.2.91. Compromise 4.3.93. And I've seen the Keira Knightley movie and the miniseries with Colin Firth.
4.2.92. Opportunity 4.3.94. I have an app called Twitter and use it to follow celebrities
4.2.93. Narrative world 4.2.95. I like zombie movies
4.2.94. Personality
4.2.95. Genre
4.3.1. Aesthetics 4.3.1. I do not like Tarantino movies because they are very unrealistic.
4.3.2. Ideology & values 4.3.2. I follow National Geographic’s Instagram because I care about nature.
4.3.
4.3.3. Funny 4.3.3. I love” Modern Family”, it's fun.
Product/content 4.3.4. Snapchat has quite a few effects, it has videos and effects like puking
4.3.4. Features on offer
evaluation rainbows and other funny effects.
4.3.5. Boredom
4.3.5. I don’t like it because there’s a bad guy, a good girl and so on for five books.
It is boring
(Feel free to create new nodes if
4.4. Others
you need them when you are
coding)
5.1.1. Oneself 5.1.1. I learnt alone, really, because I wasn’t sure about how to play.
5. How did you learn 5.1.2. Friends 5.1.2. A friend of mine tells me “come here” and then tell me “do this” ... Well, I
to do it? 5.1.3. Family actually didn’t know about it so it’s cool!
5.1.4. School & teachers 5.1.3. My mother taught me how to use MS Word and now she asks me about
5.1. Who taught 5.1.5. Internet (online forums, how things work.
you? social media…) 5.1.4. They made me create this blog at school for the trip to Germany.
5.1.6. Tutorials & YouTube 5.1.5. I watch some tutorials to see how to accomplish a mission in this game.
5.1.7. Unknown people 5.1.6. I learnt it in YouTube
5.1.8. The product itself 5.1.7. I was playing and someone explained how he’s passed the level
5.1.8. Sometimes it is the game itself, telling you some stuff
96
5.2.1. Friends 5.2.1. I know how to use Instagram and, a friend asked me, and I taught her to
5.2.2. Family use it.
5.2.3. Schools and teachers 5.2.2. I always play videogames and one day I taught my dad.
5.2. Who did you
5.2.4. Unknown people 5.2.3. The teacher doesn’t use YouTube and we showed him how to search for
teach?
videos
5.2.4. I tweet a collage and someone asked me how I did it, so I told them
5.2.1 Search for information 5.2.1. I watch tutorials to see how to accomplish a mission whenever I get stuck or
5.2.2. Experimental - Trial & error something.
5.2.3. Imitation 5.2.2. It was difficult to drive because the control buttons are very sensitive and I
5.3. Strategy 5.2.4. Search for solutions using would always crash. Now I don’t.
available resources at hand 5.2.3. I try that my pictures look like those from the Tumblr girls.
5.2.4. I can’t download any app so I use my phone’s built-in camera and then I
record all the voices using another phone.
5.4. Others
6. Others Feel free to create new nodes if you need them when you are coding. E.g., privacy issues.
97
ANALYTICAL TOOLKIT
NETGRAPHY PROTOCOL

Type of action: RIA
98
NETGRAPHY
If you have any questions about this kit please contact Elisenda Ardévol (eardevol@uoc.edu .
● This phase is the last part of the set of methods for an ethnographic approach to our subject of study.
● This fieldwork technique is complementary to the analytical process to give context to our data interpretation.
● It is based on observation and cultural interpretation of the online transmedia practices. It does not involve online social interaction.
● This technique consists in an exploration of the contents of specific Online and Social Media Communities mentioned by the adolescents in the
workshops, interviews and media diaries.
Warning:
● We center our observation on transmedia processes this is, expanding narratives across multiple platforms and formats while, at the same time,
part of the audience assumes an active role in said narrative expansion.
● We define Online Community (OC) as a virtual community whose members interact with each other primarily via the Internet. It is group-centred,
encourages peer-to-peer group interaction, and revolves around a particular interest although sometimes it can also serve as a simple channel of
communication. Community members are allowed to interact over a shared passion through various means: message boards, chat rooms, social
media, or virtual worlds. They are “members” of the community (Pinterest, Wattpad, online forums, online videogames...).
● We define Social Media Community (SMC) as a virtual community whose members interact with each other primarily via the Internet. It is
individual-centred, it is sometimes focused on a particular interest but it is mainly used as a channel of communication. It encourages the
creation of different publics– members relate to each other as followers, subscribers or audiences of other members. Sometimes Social Media
Communities can form Online Communities through group creation (Facebook).
99
Objectives
• To give context in order to get a better understanding and a more accurate interpretation of the data analysis process.
• To situate identified transmedia skills and competences, and informal learning strategies identified in the analysis in real scenarios.
• To have a first-hand reflexive experience of the transmedia narratives that our participants in the study engage with.
Materials: PC, internet connection, screen capture software, software to capture data from different websites and social media.
Research protocol
Description
● Review the workshops and the interviews coded in NVivo and identify:
− Singular interviews: those are rich in content regarding transmedia skills and learning strategies.
For example, teens that are active creators (have created a website, a YouTube channel, or regularly produce media content as
text, visuals and audiovisuals) and/or are active collaborators (participate in a fan community, in a gaming online forum, in social
media, etc.) or because any other relevant aspect that you consider (must be explained).
− Most popular OCs and SMCs among teenagers (gaming online forums, websites, YouTube channels, celebrity accounts on
Instagram, etc.) that have emerged in workshops, interviews, and diaries.
Warning:
We study transmedia narratives and practices. A videogame like Minecraft may circulate and expand across different virtual communities
(OCs and SMCs), and thus the online observation will follow how this transmedia narrative circulates and expands through different
communities and across different social networking sites (online forums, blogs, Facebook, Instagram, YouTube, Twitter, etc.).
100
Our entry point is a particular Online Community or a Social Media Community that can be a specific online forum, a YouTube channel, a
celebrity account on Instagram... Then we can follow the transmedia process across other communities if necessary.
● Selecting the OC or SMC for observation (choose two eligible communities)
− Can be accessed publicly as we will treat the information as media content.

− Have to show activity, and significant active number of members or followers, user-generated content, collaboration,
appreciation comments, teaching-learning strategies, etc.
− Must have been mentioned in the workshops, interviews or diaries (and preferably popular in our national samples) in order
to contextualise our data.
− Have to be preferably in the language of each national sample. Thus researchers can connect their observations and gathered
data with the necessary cultural background to provide a well-grounded cultural interpretation.
− The most extended online and social media communities and transmedia narratives are global. So, starting from a local OC or
SMC we can follow transnational and global phenomena (e.g. the youtubers phenomenon)
• Examples of eligible Online and/or Social Media Communities:
− An OC for creation. For example, Wattpad is a global creative community devoted to writing and reading books. There are
many features to improve your writing, clubs of authors and readers, a dashboard for writing your book, a dashboard to
archive your books, etc. It seems a significant online context to explore, but we can get lost in trying to make sense of this
global community as a whole. We know from the interviews that there is a very active Spanish-language community. So we can
explore in depth its features and characteristics by following the Spanish-language authors on the OC and also on social media.
In this case we will focus on the observation of the contents created within this community and pay special attention to user
interactions where learning-teaching strategies are more likely to be detected.
− An OC of gamers. League of Legends (LOL) is a very popular global videogame that has been identified in the interviews from
the Spanish sample. We can choose to explore the official site or to look for other online communities created by players
themselves. Most of the interviewees go to LOLesp. This is an online forum created by a LOL fan that has members of all Latin
America countries. It was set up as a hobby, but after a while the site was on the brink of closing, so they set up a button for
donations as requested by the members of the community. After sometime clutching on donations, a Spanish communication
101
company founded by a fellow gamer bought the site. It remains a very active OC– it includes an official tutorial section,
competitions and offline events, tutorials and gameplays made by the OC members. Some of them see themselves as
youtubers and have opened a YouTube channel to expand the LOL universe.
− A SMC around a youtuber. Youtubers are a global phenomenon that is much related to transmedia narratives (they are
transmedia storytellers themselves). It goes beyond gamers, although some gamers have become YouTube celebrities. Boys
and girls tell us about their favourite youtubers and to become a youtuber has become a job aspiration for some of the
interviewees. Let’s explore this phenomenon locally, departing from a youtuber– Dulceida. Born and bred in Barcelona, she
created her blog in 2009 when she was 20. In 2014 she opened a YouTube channel alongside with public accounts on
Facebook, Instagram and SnapChat. To date, she has more than one million of subscribers on Instagram. Girls told us that they
like Dulceida and for them she is a reference, not only on fashion, but also on lifestyle. She came out as bisexual and
announced she was dating a girl in a video that hit a landmark for her channel in terms of viewership, and she also received
many comments in her subsequent wedding video. We cannot know which ones of these comments were made by teens, but
we can confirm that a lot of teens in Barcelona and in Latin America watch her videos, follow her social media accounts, and
make comments. She owns her own company and decides which brands she wants to promote. In this case, more than
learning strategies, we can observe how appreciation skills are performed in relation to sexuality, homophobia, and aesthetics
that imply an entanglement of moral values, social criticism and fine taste. It is important to understand how her identity is
performed through her storytelling and how she deals with authenticity as her most valued social capital. And precisely, what
our teens told us about her is that they like her because her “authenticity”. What is Dulceida teaching through her stories?
− A SMC around a TV series / a celebrity. Hawaii Five-0 is an American cop show airing on CBS which is a remake of the original
series that aired in the same network from 1968 to 1980. Keeping the same catchy opening theme and character archetypes as
in the classic series, the cases covered by the Hawaiian elite task force lead by Lt. Commander Steve McGarrett (played by Alex
O’Loughlin) have been running for seven seasons thus far. The show is quite popular among the 13-year-olds from the Spanish
sample due to its frequent reruns on Cuatro (a commercial TV channel) in the afternoons, after school. Some of them are so
hooked on the series that are prompted to look for more information about upcoming episodes even if these “aren’t dubbed
to Spanish yet”, as a way to satisfy their curiosity. To do this, they follow the show and cast’s official Instagram accounts (e.g.
@hawaiifive0cbs, @daniedaekim), and other fan-managed SMC on Instagram (@hawaii50__) where it is common to find edits
and other forms of fan art derivative from the series and its cast members.
102
● After selecting your eligible pair of communities
− Report to the coordination team so that we choose 8 sites in total, one per country. These have to cover different aspects
regarding the goals of the research. In order to set up these eight sites, we have to take into account a number of aspects—
videogames or participatory culture, gender, type of online or social media communities, globalisation of the transmedia narrative,
and other relevant characteristics that arise in the sampling.
● Ethical warnings
− In some OCs and SMCs you must log on. Use a specific account created for the observation. This account will identify you as a
Transliteracy researcher.
− Do not interact with online users in these online contexts unless you are absolutely sure that they are +18 years old.
− If you find some possible uneasy or risky situation, stop lurking and report to the coordination team.
Observation guidelines
Description
● The duration of the observation period depends on the intensity of the observation sessions. It is important to take field notes
during the observation (you can use e-notes, screen shots, paper and pen).
● The observation can follow these basic orientative questions (questions can be added or modified):
− What type of activity is being carried out on the site? What characterises it?
− How was the community created?
− How is the activity being developed? What skills, competencies, and knowledge do participants perform in these sites according
to our analysis? What transmedia skills and informal learning processes can be identified?
103
o Which practices for creation, problem-solving, information-searching, etc. can be inferred?

o What meanings do the participants give to their practices? For what purpose?
o How are the contents and features valued by the participants?
o Do the participants cooperate or collaborate? What is the format of the contents produced on the site?
o Are there any tensions, issues, awkward moments? What do they reveal?
• The observational approach is descriptive. The objective is an interpretative description of what is happening in these sites. The
aim is to understand the character of these virtual communities in the circulation and expansion of transmedia narratives in local,
transnational and global contexts.
• Presentation of the report: Each country should write a report on the online observation as a case study that contains an
interpretative description of the chosen site and the activity carried out there. This report should include some relevant insights
related to the research topics that have emerged throughout the online observation, adding some illustrative examples. Remember
that although texts and images are public, we have to guarantee users’ anonymity. This means, faces and nicknames from users (not
celebrities/youtubers) –especially minors– participating in OCs and SMCs must be blurred out. This also applies to user comments–
while comments can be quoted verbatim, their post dates must be omitted.

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Project Acronym: TRANSLITERACY

Project Full Title: TRANSMEDIA LITERACY. Exploiting transmedia skills and

D2.2. – Kit for Field Researchers

Deliverable status: Final

The TRANSLITERACY project consortium is composed of:

UPF Universitat Pompeu Fabra Spain

This is the content of D2.2 - Kit for field researchers:

Kit area Content

Project Acronym: TRANSLITERACY

Description and Objectives

Guidelines for questionnaire administration:

3) Questionnaires must be filled in individually.

4) Researchers should be available to participants in case they need any clarification.

5) Questionnaires are administered in paper format:

 Questionnaires are distributed to the participants.

Data Treatment Protocol

Image 2: Screenshot. Questionnaire database with two given examples.

Image 3: Screenshot. Questionnaire database with two given examples.

TO BE COMPLETED BY THE RESERCHER - Code

COUNTRY SCHOOL CLASS PARTICIPANT

4. Place of Birth (City and Country)

5. Place of residence (City and

6. Gender ☐ Male ☐ Female

7. Who do you live with? ☐ Mother ☐ Father ☐Brother/s and/or sister/s

☐ None ☐ Primary education

☐ None ☐ Primary education

ACTIVITIES AND MEDIA USES

11. Which ones?

13. Which devices/media do you ☐ TV ☐ DVD ☐ MP3/MP4/iPod, etc

14. Which programmes do you ☐ Word/Office

15. Which social media platforms ☐ Facebook ☐ Twitter ☐ Instagram

(You can mark several options) ☐ YouTube ☐ Others_____________________

Indicate the time spent on each of these activities:

16. I watch TV… 1 2 3 4 5

17. I watch movies or series online… 1 2 3 4 5

18. I play videogames... 1 2 3 4 5

19. I play board games... 1 2 3 4 5

20. I listen to the radio… 1 2 3 4 5

21. I use a computer to do my homework... 1 2 3 4 5

22. I read print magazines or newspapers… 1 2 3 4 5

23. I read books… 1 2 3 4 5

24. I read comics… 1 2 3 4 5

25. I go to the cinema… 1 2 3 4 5

26. I use social media… 1 2 3 4 5

27. I use email… 1 2 3 4 5

28. I participate in blogs, websites, fan forums… 1 2 3 4 5

30. When I can, I look up my favourite TV series on the Internet… 1 2 3 4 5

31. I like watching YouTube channels 1 2 3 4 5

32. I like making my own playlists online… 1 2 3 4 5

33. I search for songs/movies I like and I download them… 1 2 3 4 5

34. I like playing videogames with friends online… 1 2 3 4 5

35. When I go to a friend's house, we usually watch some videos… 1 2 3 4 5

36. When I go to a friend's house, we usually play videogames… 1 2 3 4 5

37. When I go to a friend's house, we usually watch some TV series… 1 2 3 4 5

38. When I go to a friend's house, we usually make a video… 1 2 3 4 5

40. I search for gameplay videos of my favourite videogames… 1 2 3 4 5

41. I like making videos and sharing them… 1 2 3 4 5

42. When I like something I make comments on social media… 1 2 3 4 5

43. When I like something I send it to my friends… 1 2 3 4 5

44. I like taking pictures and sharing them online… 1 2 3 4 5

45. I like to have many followers on social media (Instagram,

46. I like writing fanfiction of my favourite TV series, movies and

47. I like cosplaying... 1 2 3 4 5

48. I like to buy things from my favourite TV series (posters, t-shirts,