Este trabalho tem como objetivo discutir o modelo de moradia mínima destinado ao povo sob as condições do sistema capitalista neoliberal e apontar suas latentes contradições sociais e ambientais. Para isso, busca-se construir uma revisão histórica que recupera as origens da habitação operária durante o desenvolvimento da cidade industrial, ou seja, o momento em que a questão da moradia se estabelece enquanto uma dimensão de conflito. E, a partir disso, refletir sobre o modo como a habitação mínima foi sendo assimilada dentro do desenvolvimento do capital, inclusive através do movimento moderno, de modo a desmobilizar as resistências sociais através de uma cultura pautada pelo consumo. A presente pesquisa se concentra no esforço de desnaturalizar algumas das questões constitutivas do imaginário que cercam a questão da moradia a fim de apontar a gravidade dos efeitos da lógica econômica, que se baseia na acumulação de capital e que distancia a habitação de sua real finalidade enquanto direito social. / The aim of the present investigation is to discuss minimum housing standards intended to a society under the conditions of the neoliberal capitalism system and to highlight its social and environmental latent contradictions. So, this work seeks to construct a historical review that recovers the origins of the workers dwellings during the development of the industrial city, in other words, this is the moment when the housing issue is established as a dimension of conflict. From this, reflecting on how minimal housing has been assimilated by the currency development, including by the the modern movement, in order to demobilize social resistance through a culture based on consumption. Therefore, this research focuses on the effort to rethink the common sense that surrounds the housing issue, aiming to emphasize the impact of the economic effects, which is based on capital accumulation and that distances the housing from its real purpose as a social right.

This project proposes a user-focused approach to study the algorithm logic of on-demand apps, using Netflix as a case study. The main research interest is the perception that the user has about the suggestion and recommendation logic of Netflix. In order to gather the information, a walkthrough method on Netflix was applied as well as personal, in-depth think aloud interviews were carried out. The sample consisted on a selection of heavy users, millennials ex-pats living in Singapore and working in the creative industry to get specific insights on their relationship with the algorithm.  To analyze the gathered material, qualitative content analysis was carried out. This kind of study is important within today’s contemporary media environment to have integral approach to users perceptions instead of just analytical figures and numbers. The theoretical context used to enlight some of the conclusions discussed on this research were based on the study of media in everyday life, global cultural industry studies, as well as algorithm culture and the science and technology studies. How algorithms are perceived have major repercussions not only on on-demand apps, technology business models or entertainment industry but also an intense influence on the way people consume content. Re-thinking the user as a co-producer of information and knowledge, considering some of the implications this phenomenon might have on the creative industry and how that affects on our daily life are some of the issues this research elaborated on. It can be said that the selected sample appreciates the suggestion logics and it has multiple functionalities: recommendation, curation, entertainment, companionship and leisure. Netflix Originals are very well validated; being one of the main attractions of the app. Interface, functionality and features are also items that the sample positively highlights. The accuracy perception of the algorithm is good, although low when compared to other countries where the sample used the app. The same applies to the amount of content and titles available, being these last two, issues that Netflix could improve.   This research was conducted for 8 months, from October 2016 to May 2017, for Sodertorn University – Stockholm, Sweden, with the guidance and support of Associate Professor Anne Kaun.

This research was presented to the Pos Graduation Program in Education, specifically to the Master Degree level, in the Centro de Educação (Center of Education) at UFSM (Federal University of Santa Maria), for the line of research on Education and Art. The approach of this work is about the relations between education and cultural industry and their implications in the actual context starting from the diagnosis of the dialectic to the convenient cultural formation while pseudo culture, by Theodor W. Adorno, and of the action communicative theory, by Jürgen Habermas, who emphasizes the public space transformation. The purpose is analyses the concept of cultural industry as a mechanism of aesthetization to the experienced world. In the sense to aid the reversion to the cultural processes of appropriation, it makes use of the hermeneutic reconstructive dialog proposing some outlook for education in order that human being can dialogue and interact with the challenges that results from this context. In this way, this research proposes the work to decode images as a tool to think in better strategies for the formation of civic judgment. The discussion hypothesis proposes the idea that pedagogical changes which can contribute to destabilize the unidimensionality given to the communication, by the distorted practice, must pass by reeducation to the meaning of comprehend. This approach allows other comprehension meanings opening, immersed in the expressed messages, once presupposes participation in a community governed by communicative action, that it contemplates a way of double hand and that itinerary of has not only gone, but also ways in return. Thus the educative practice, through the ontextualized interventions in the experienced world, opens other ways of comprehension to the meanings plurality that emerge form the cultural patrimony, mainly the recognize of the other alterity and the differences, considering the complexity of the daily emergent values from the new interactive media. / Esta pesquisa foi apresentada ao Programa de Pós-Graduação em Educação, nível de Mestrado, do Centro de Educação, da Universidade Federal de Santa Maria, para a linha de pesquisa: Educação e Arte. O trabalho versa sobre as relações entre educação e indústria cultural e suas implicações no contexto atual a partir do diagnóstico da dialética da formação cultural, apropriada enquanto pseudocultura, de Theodor W. Adorno, e da teoria da ação comunicativa, de Jürgen Habermas, que enfatiza os processos de transformação do espaço público. O objetivo é analisar o conceito de indústria cultural como mecanismo de estetização do mundo vivido. Para tal, utiliza o diálogo hermenêutico reconstrutivo no sentido de auxiliar a reversão dos processos de apropriação do cultural, propondo algumas perspectivas à educação, a fim de que os indivíduos possam dialogar e interagir com os desafios resultantes desse contexto. Assim, a pesquisa propõe o trabalho de decodificação de imagens como forma de repensar melhores estratégias para a formação da opinião pública. A hipótese de discussão propõe a idéia de que as mudanças pedagógicas que podem contribuir para desestabilizar a unidimensionalidade dada à comunicação, pela prática sistematicamente distorcida, deve passar por uma reeducação dos sentidos do compreender. Essa proposta permite a abertura de outros sentidos da compreensão imersos nas mensagens expressas, uma vez que pressupõe a participação numa comunidade regida pela ação comunicativa, que contempla uma via de mão dupla e que não tem apenas itinerários de ida, mas também caminhos de volta. Desse modo, a prática educativa, através de intervenções contextualizadas no mundo vivido, abre outras formas de compreensão da pluralidade de sentidos que emergem do acervo cultural, principalmente o reconhecimento da alteridade do outro e das diferenças, considerando a complexidade dos valores emergentes do cotidiano das novas mídias interativas.

Cette thèse étudie comment la critique humoristique de l'actualité dans les médiasaudiovisuels de masse français est devenue un genre médiatique à part entière. Le travail« sérieux », « invisible », aux finalités « visibles », parfois surexposées, des « humoristesd'actualité », s'inspirant de la tradition des bouffons d'antan, revisite quotidiennement lesmises en récit journalistiques en les décalant, par « déboîtement ». Le croisement de troisspécialités sociologiques (des médias, du travail et de la critique), le recours à des entretienssemi-directifs (n=43) et à des corpus médiatiques conséquents (presse écrite et séquencesaudiovisuelles) permettent de décrire des trajectoires, des statuts, des savoirs-faire et des rôlesconstitutifs d'une expérience artistique et professionnelle. En interaction avec leurs deuxprincipales sources d'inspiration (professionnels de la politique et journalistes), les humoristesd'actualité produisent une critique réflexive, contestataire ou dénonciatrice. Cette critiquespécifique, méthode de dévoilement aux règles implicites et explicites, constitue une « carteblanche » pour aller le plus loin possible, malgré les risques (pressions, licenciements, procès,etc.), les polémiques régulières, les tentatives de construction de « lignes jaunes »(philosophique, politique, journalistique), et les controverses à la visibilité parfois maximale(affaire Strauss-Kahn), qui pèsent plus ou moins sur la définition des normes du travail(censure, autocensure, etc.). L'imagination créatrice des humoristes d'actualité participepleinement du processus de « publicisation critique » de la démocratie, et teste son idéal deliberté d'expression. / This thesis explores how the news humorous critic in the French audiovisual mass media hasbecome a media genre in its own right. The "serious", "invisible" work, made for "visible"ends, sometimes overexposed, of these "news humorists" who are inspired by the tradition ofjesters of old, regularly revisits journalistic narratives, and shifting them by "pulling-out"(déboîtement). The crossing of three sociological literatures (media, work and criticism),semi-structured interviews (n = 43) and a substantial media corpus (print media andaudiovisual sequences) allows us to describe the trajectories, statutes, know-how andconstituent roles of an artistic and professional experience. Interacting with their two mainsources of inspiration (elected officials and journalists), news humorists are producing a criticthat can be reflexive, protestive or reprobative. This specific critic, unveiling method, withimplicit and explicit rules, constitutes a "carte blanche" to go as far as possible, despite therisks (pressures, layoffs, lawsuits, etc.), regular polemics, attempts to set "yellow lines"(philosophical, political, journalistic), and controversies with high visibility (the Strauss-Kahncase), all of this weighing more or less on the definition of work standards (censorship, selfcensorship,etc.). The creative imagination of news humorists then fully participates in theprocess of "critical publicisation" of democracy, and tests its ideal of freedom of expression.

Le constat d’une difficulté est à l’origine de cette thèse : est-il encore possible de parler de clôture de la fiction face au fonctionnement contemporain des franchises fondées sur le développement transmédiatique d’univers transfictionnels ? Cette thèse traite des problématiques de création dans le cadre des industries culturelles : quelles sont les influences de l’industrie sur la création d’une fiction ? Quelles sont les influences de la fiction sur les médiations et les représentations de l’industrie ? Quelles sont les conséquences de l’industrialisation sur les circulations de la fiction ? Comment comprendre la permanence d’une figure d’auteur dans un régime de création collective ? L’étude se structure autour de quatre hypothèses principales, correspondant à autant de parties : tout d’abord, il est désormais nécessaire de parler de « fictions industrialisées », dans la mesure où la fiction, ses formes et ses contenus sont façonnés par l’industrie. Réciproquement, on constate l’émergence d’une « industrie narrativisée » : l’industrie participe de la création culturelle mais devient aussi objet culturel marqué par les codes de la fiction. La proposition de la notion de « fiction totale » rend nécessaire de repenser les notions de participation et de convergence qui, paradoxalement, ne sont pas incompatibles avec le concept d’autorité ; ainsi, il semble que l’ouverture de la fiction soit le symptôme d’un verrouillage institutionnel accru. Enfin, cette thèse pose l’hypothèse de l’émergence d’une nouvelle forme d’auctorialité, fondée sur l’assimilation de la figure d’auteur à un triple produit. / One main question originated this PhD Thesis : is it still possible to talk about the closure of a fiction when contemporain franchises work on continual developments and expansions ? This document questions the concept of fiction through the notion of cultural industry. How is the creation of fiction influenced by its industrial environment ? What consequences does fiction have on its industrial environment ? What does industrialisation do to the circulation of fiction ? How does evolve the notion of authorship in this collective environment for creation ? Our study is structured around four main hypothesis, which are each studied in a dedicated part of this thesis : firstly, we underline the relevance of the notion of « industrialised fictions » ; indeed, fictional contents and formats’ evolutions are deeply linked to industrial developments. Furthermore, these contents and formats are sometimes shaped accordingly to their potential industrial developments. Reciprocally, we emphasize the notion of « narrated industry » : industry participates in cultural creation and is a cultural creation contaminated by fiction. A new notion is therefore necessary : the « totalizing fiction ». We worked on a renewed approach for the notions of convergence and participatory cultures which are, paradoxically, strongly linked to the concept of authority : the oppenness of fiction would be the symptom of an institutional lockout. Finally, this thesis defines the appareance of a new form of authority, shaped on the assimilation of authorship to a product : the author is produced as a figure, as a comercial and cultural object and as a self-creation.

[pt] O presente trabalho tem como objetivo analisar e refletir sobre o modo como as tecnologias digitais afetam as experiências musicais de crianças de 5 e 6 anos. Os principais referenciais teóricos são autores da Teoria Crítica, como os frankfurtianos Adorno, Horkheimer e Benjamin, que trazem o debate sobre a Indústria Cultural e os efeitos dos avanços tecnológicos no campo da arte. Para a pesquisa de campo também foram abordados teóricos da Sociologia da Infância, como Corsaro e Sarmento, a fim de se discutir sobre as concepções de infância e criança que apoiam a entrada em campo da presente investigação. A coleta de dados se deu em uma instituição federal de Educação Infantil do Rio de Janeiro, a partir de observações e conversas, individuais e em pequenos grupos, com as crianças. Também foram analisadas as plataformas que mais apareceram nas falas das crianças sobre música: Youtube e TikTok. Dentre os resultados encontrados, é possível destacar a predominância de vivências musicais por meio da mídia digital, principalmente no uso de aparelhos smartphones e tablets. Também foi verificado que a questão da fetichização da música ainda está presente no contexto digital, percebida na valorização dos “artistas” de acordo com aspectos não- artísticos, como sua imagem, aparência, roupas e vida pessoal, e na mercantilização da música a partir de propagandas e vendas de produtos ligados àquela celebridade. A questão do gosto como prerrogativa pessoal também é discutida, uma vez que a exposição exagerada de determinados artistas é identificada, além das sugestões apresentadas aos usuários serem influenciadas por questões financeiras e pelo sucesso prévio daquele conteúdo. Outro aspecto identificado é o uso de fórmulas que padronizam os conteúdos musicais, além de afetar a percepção dos ouvintes, que se acostumam a determinados padrões, muitas vezes rejeitando novos materiais. Por fim, foi sinalizado que, apesar das possibilidades trazidas pelas tecnologias digitais, como a mobilidade para se escutar música em qualquer lugar e o acesso a um repertório imenso de músicas e artistas, a tecnologia digital em si não garante às crianças experiências musicais verdadeiras. Muitas vezes, as vivências com a música em um contexto digital se tornam pontuais, efêmeras, distraídas, com pouco tempo para análise, reflexões e escuta atenta. Nesse sentido, o presente trabalho defende que escola, família e sociedade se questionem acerca do uso desmedido das mídias digitais, sugerindo reflexões sobre esse uso e sobre os cuidados a serem tomados, principalmente, com relação à mediação daqueles que atuam diretamente na educação das crianças, visando garantir experiências musicais emancipadoras. / [en] The research aims to analyze and discuss the way digital technology affects preschool children s musical experience. Based on critical theorists, like Adorno, Horkheimer and Benjamin, this thesis debates culture industry, technological advancements, and their effects on arts. Sociologists of childhood, like Corsaro and Sarmento, also contributed with conceptions of children e childhood that were helpful to this study. The case study was conducted in a federal preschool institution located in Rio de Janeiro, observing 5 to 6 years old children, and using individual and small group interviews. In addition, were analyzed the platforms that children most related to music: Youtube and Tiktok. Observations and interviews showed the growth of digital media in children s relation with music, mainly smartphones and tablets. Also, the research has provided contributions about the fetish character of music in the context of digital technology. It was noticed that artists are evaluated based on non-musical aspects, like their image, clothes, and personal life, besides advertisements of products related to the celebrity. The idea of personal taste was also debated, once it was detected a great exposure of certain artists if compared to others, and as well as suggestions of videos, influenced by its success and economical interests. Additionally, it was noticed some formulas which standardize music, affecting the perception of listeners, who become used to those standards and sometimes end up rejecting new materials. Finally, it was signalized that, although digital technology offers many possibilities, like listening to music anytime and anywhere and searching songs from all around the world, it doesn t guarantee musical experience for real to children. Many times, the relationship with music becomes punctual, ephemeral, distracted, with no time to analyze, reflect and listen carefully. Therefore, this research defends that those who are responsible for children s education – school, family, society – reflect about the excessive use of digital medias and think about precautions and mediation to guarantee emancipatory musical experiences.

No description available.

Bakgrund och forskningsfråga: Målstyrning är ett viktigt hjälpmedel för företag i deras strävan efter att följa sina strategier. Målstyrning kan ske genom användning av formella eller informella styrmedel, och ska anpassas efter varje enskilt företag. Traditionella affärsverksamheter har ofta som fokus att generera vinst och använder sig främst av formella styrmedel. Kreativa näringar har istället sitt fokus på kreativiteten, och använder sig främst av informella styrmedel. Kreativa företag har inte samma möjlighet att konkurrera på marknaden som traditionella affärsverksamheter, men den ekonomiska aspekten är fortfarande viktig då det är ett krav för deras fortlevnad. Flertalet kreativa näringar väljer att diversifiera sin verksamhet inom relaterade områden för att skapa en mer stabil ekonomi. Detta medför dock en utmaning i att behålla kreativiteten inom ett område, trots en diversifierad verksamhetsstruktur. Studiens övergripande forskningsfråga är: Hur håller kreativa företag, inom konstsektorn, med relaterat diversifierad verksamhetsstruktur samman hela organisationen genom målstyrning? Syfte: Syftet med denna studie är att beskriva hur kreativa företag med flertalet olika verksamhetsgrenar utformat sin målstyrning med hjälp av olika formella och informella styrmedel. Ytterligare ett syfte är att analysera vilka fördelar och nackdelar de olika styrmedlen skapar för företagen gällande deras målstyrning. Metod: Denna studie utgör en fallstudie av två kreativa näringar. Undersökningen utgår från en abduktiv forskningsansats med en kvalitativ forskningsstrategi. Den teoretiska referensramen är främst baserad på insamlat material från litteratur och vetenskapliga artiklar. Det empiriska materialet utgörs främst av ingående personliga intervjuer, samt viss information från hemsidor tillhörande de organisationer som deltar i denna studie. Slutsats: Kreativa näringar med relaterat diversifierad verksamhetsstruktur använder formella styrmedel för att styra de ekonomiska aspekterna och informella styrmedel för att styra kreativiteten och de anställdas beteenden. Denna målstyrning gör att de kan uppfylla både deras ekonomiska och konstnärliga mål och hålla samman sin relaterat diversifierade verksamhetstruktur. / Background and research question: Performance management is an important tool for businesses in their efforts to pursue their strategies. Performance management can be achieved through the use of formal or informal control instruments, and should be tailored to each individual company. Traditional businesses often have the focus to generate profit and primarily use formal control instruments. Creative industries have instead its focus on creativity, and primarily use informal control instruments. Creative companies do not have the same opportunity to compete in the market as traditional businesses, but the financial aspect is still important as it is a requirement for their survival. Most creative industries choose to diversify their business in related areas to create a more stable economy. However, this means a challenge to retain the creativity in one area, despite a diversified business structure. The study's overall research question is: How do creative businesses, in the arts sector, with a related diversified business structure hold together the entire organization through performance management? Objective: The purpose of this study is to describe how creative companies with several different branches of business activity have designed its performance management using different formal and informal control instruments. Another purpose is to analyze the advantages and disadvantages that the different control instruments create for companies concerning their performance management. Method: This study is a case study of two creative industries. The survey is based on an abductive research approach with a qualitative research strategy. The theoretical framework is mainly based on material collected from literature and scientific articles. The empirical material consists mainly of detailed personal interviews, as well as certain information from websites belonging to organizations involved in this study. Conclusion: Creative industries with a related diversified business structure are using formal control instruments to steer the financial aspects and informal control instruments to steer creativity and employee behavior. This performance management enables them to meet both their financial and artistic goals and hold together its related diversified business structure.

En 2010, les écrans du Québec étaient occupés par des films américains dans une proportion de 78,4 %. Ce mémoire veut mettre en lumière les mécanismes de la distribution de films au Québec et la responsabilité des distributeurs dans l'offre cinématographique nationale. Après avoir décrit les cinq étapes de la fabrication d'un film, nous dressons l'inventaire des politiques fédérales et provinciales qui régissent la distribution au Québec. Nous établissons ensuite des parallèles entre les politiques nationales et celles de pays de l'Union européenne afin de considérer comment et pourquoi, pour protéger leur identité « de la déferlante américaine », ces pays tentent de réglementer l'industrie cinématographique. Par la suite, nous observons quel est le rôle de la distribution dans la filière économique en général et dans l'industrie québécoise du cinéma en particulier à travers une série d'entrevues semi-dirigées avec les principaux protagonistes du milieu. Nous nous intéressons subséquemment à l'avenir de la distribution cinématographique relativement à la dématérialisation des images et du son. Finalement, nous concluons que le menu cinématographique québécois est composé par le positionnement des distributeurs américains et québécois en réponse à une demande artificielle des consommateurs reflétée par la billetterie (box-office); positionnement légitimé par les politiques gouvernementales. / In 2010, 78,4 % of the films shown in Quebec were American. This thesis intends to shed light on the mechanisms at play when it comes to film distribution in Quebec and the responsibility that distributors have with respect to national film offerings. After having described the five steps involved in making a film, we draw up the inventory of federal and provincial policies that govern distribution in Quebec. We then establish parallels between national policies and those of European Union countries in order to consider how and why, as a way to protect their identity « from the American tidal wave », those countries try to regulate the film industry. We subsequently examine the role that distribution plays in the economic chain in general and in the Quebec film industry in particular through a series of semi-structured interviews with leading protagonists in the field. We then take a look at the future of film distribution as it relates to the dematerialization of images and sound. Finally, we conclude that the Quebec film menu is made up by the positioning of American and Quebec distributors in response to an artificial consumer demand that is reflected by the box-office, legitimized by the governments.

O trabalho é um estudo sobre processos cênicos que partiram de obras da cultura pop, ocorridos entre os anos de 2016 a 2017 na cidade de São Paulo, nos quais o autor da pesquisa esteve presente. O intuito foi o de pensar pedagogicamente o uso de histórias em quadrinhos, videoclipes e canções como materiais de criação cênica com jovens e adolescentes. O desenvolvimento e observação destes processos, somado à pesquisa de teóricos que se debruçaram sobre os temas cultura pop e indústria cultural (como Teixeira Coelho, Douglas Kellner, Umberto Eco, entre outros) trouxeram à tona reflexões sobre o conceito de pop, sua apropriação de temas atuais - principalmente os que dizem respeito a movimentos sociais - e a sua presença dentro de um público jovem. Essas reflexões são aqui chamadas de \"diálogos\", nos quais a busca de uma relação com a cultura pop não passa por um olhar pejorativo ou maniqueísta. A trajetória trouxe como frutos, entre novas reflexões, a criação de dois espetáculos: - Tebaida(2017), uma transposição da linguagem dos quadrinhos para a cena , oriunda de um processo sob minha orientação, ocorrido no Programa Vocacional da Prefeitura de São Paulo; - PLAYLIST 43:04 (2018), uma coreografia de dança contemporânea, ganhadora do 22º. Festival da Cultura Inglesa, sobre a influência da cultura pop no cotidiano dos jovens urbanos. / This paper is a study of scenic processes which came about from projects of pop culture that took place between 2016 and 2017 in the city of São Paulo, in which the researcher was a participant. The intention was to think pedagogically about the use of comics, video clips and pop songs as materials for scenic creation with young people and adolescents. The development and observation of these processes, together with the research of theorists who dealt with the themes of pop culture and cultural industry (such as Teixeira Coelho, Douglas Kellner, Umberto Eco, among others) brought to the fore reflections on the concept of pop, current issues - especially those concerning social movements - and their presence within a young audience. These reflections in this paper will be referred to as \"dialogues\", in which the search for a relationship with pop culture does not pass through a pejorative or Manichean point of view. The trajectory brought as fruits, among new reflections, the creation of two plays: - Tebaida (2017), a transposition of the language of comics to the scene, coming from a process with my guidance, wich took place in Programa Vocacional of the City of São Paulo; - PLAYLIST 43:04 (2018), a contemporary dance choreography, winner of the 22nd. Cultura Inglesa Festival, on the influence of pop culture on the daily life of urban youth.