Dans cette thèse, nous étudions les concepts de durabilité et de responsabilité à l’ère de la numérisation, époque marquée par l’émergence de nouvelles technologies numériques de rupture. Nous cherchons à identifier dans quelle mesure les technologies numériques peuvent contribuer aux objectifs de durabilité et de responsabilité et comment une technologie numérique spécifique peut faciliter l’atteinte de ces objectifs.Ces critères nous ont conduits au choix de la fabrication additive, plus communément connue sous le nom de « technologie d'impression 3D » (3DP). Observée à travers du prisme conceptuel de l'innovation responsable, notre étude dévoile au travers de ses principaux résultats certains des mystères que revêtent les 3DP auprès du grand public. En combinant le concept d'innovation responsable avec une technologie numérique spécifique, nous avons adopté une approche de recherche utilisant la théorie enracinée pour suivre les processus d'adoption/diffusion actuels à partir du terrain, et identifier les utilisateurs précurseurs et influents du domaine des 3DP. Ainsi, les principaux résultats peuvent être divisés en deux thèmes, dans un premier temps pour expliquer les caractéristiques des systèmes sociotechniques dans lequel la 3DP est située et, dans un deuxième temps, discuter des avantages et des défis sociaux, économiques et environnementaux de 3DP pour le grand public. Dans la seconde partie, la première section, consacrée aux caractéristiques du système sociotechnique, se concentre sur le processus d'adoption actuel, l'identification des utilisateurs influents prenant forme dans la culture ‘Maker’ et dans les espaces de coworking. Cette section présente également les caractéristiques actuelles de ces primo utilisateurs et les particularités de 3DP pour le grand public, telles que le déséquilibre hommes-femmes pour les utilisateurs actuels, et la manière dont contribueront la 3DP au développement de nouveaux produits. La seconde section de nos principaux résultats offre une analyse détaillée des avantages et des défis sociaux, économiques et environnementaux spécifiques de 3DP au niveau consommateur.Ces résultats indiquent qu'il existe une attente sociétale croissante auprès des 3DP pour adoucir les systèmes de production actuels et aboutir à des logiques de production plus durables. Par conséquent, les opportunités économiques offrent la possibilité de développer de nouveaux services et produits dans le marché des 3DP, caractérisé par une forte expansion et de faibles barrières à l'entrée, qui séduisent une grande variété de petites et moyennes entreprises (PME). Enfin, la nature environnementale des 3DP au niveau consommateur, même si elle offre des possibilités prometteuses pour préserver les ressources, optimiser la production, maîtriser l’obsolescence planifiée et recycler et réutiliser les matériaux, fait toujours face à un certain nombre de problèmes, qui limitent les apports environnementaux dans le cas d’une adoption de masse. Les contributions théoriques correspondent principalement aux spécificités du processus d'adoption des 3DP au niveau consommateur, à l’identification des caractéristiques des primo utilisateurs et des utilisateurs influents, mais aussi aux implications en termes de développement durable, sujets rarement traités dans la littérature en gestion. Nos principales conclusions apportent également des informations détaillées aux praticiens qui peuvent mener leurs activités entrepreneuriales, en mobilisant ces technologies pour améliorer les modèles d’affaires existants ou en développant des produits et services entièrement nouveaux. Les législateurs peuvent tirer parti des informations sur les pratiques 3DP actuelles et élaborer des politiques pour soutenir la recherche et l'innovation dans le domaine des 3DP ou pour identifier les menaces potentielles pour le public, telles que les risques liés à la propriété intellectuelle ou les problématiques de standard. / This study investigates the concepts of sustainability and responsibility in innovation through the processes of digitalization, marked by the emergence of new disruptive digital technologies. We observe the link between the digitalization and sustainability to understand how a specific digital technology can lead to sustainable and responsible outcomes. These criteria led us to additive manufacturing, or more commonly known, 3D Printing (3DP) technology.We adopted a responsible innovation concept as a set of principles to guide our study on 3DP. Moreover, this study design enabled us to align responsible innovation with existing research methods such as grounded theory. Through a bottom-up research approach, we observed trajectories of the current 3DP adoption/diffusion process and identified early users within their sociotechnical environment where 3DP is currently available. This constituted a solid ground to discuss 3DP sustainable and responsible nature and related implications. Responsible innovation concept, 3DP technology and our research methods are described in the Part I of this document.Part II elaborates main findings that can be divided into two sections. In the first section, we present characteristics of the sociotechnical system, current adoption process, 3DP innovation characteristics, and identify lead users. Current lead users of consumer-level 3DP are seen in the form of Maker culture and the coworking spaces. We present the insights on this specific interaction between the 3DP and Maker culture, whilst also discussing characteristic gender imbalance and new product development.The second section offers detailed analysis of consumer-level 3DP social, economic and environmental implications. Social implications indicate that there is an increasing societal expectation where 3DP is expected to lead a transformation towards more sustainable means of production. Economic implications are concentrated on the business opportunities relying on the growing 3DP market. As an evolving and niche market, current expansion and low-entry barriers are attracting interest of Small and Medium Entrepreneurs (SMEs) who develop new 3DP services and products. Lastly, even though with a promising potential to preserve raw resources, optimize production, tackle planned obsolescence, ensure recycling and reuse of materials, consumer-level 3DP still faces several environmental challenges. Possible rebound effect in energy and resources could lead to consequences that undermine its additive nature, where ecology is not a central topic for 3DP further development.Theoretical contributions of our study can be summarized in the specificities of consumer-level 3DP adoption process, characteristics of the early adopters and sustainability implications. These topics are scarcely covered in management research. Moreover, our key findings also provide detailed managerial contributions for the practitioners and the policy-makers. These can contribute to entrepreneurial activities that demand 3DP alignment with existing business models or development of new products and services based on this technology. Policy-makers can obtain insights on the current 3DP practices that can help guide policies to support research and innovation linked to 3DP technology. Our study insights can assist their understanding of possible threats hidden in Intellectual Property (IP), security and standardization issues related to 3DP technology.Finally, our main intention was to contribute to the ongoing scholar debate about the 3DP technology, digitalization and sustainability. For these purposes, we have developed a detailed thesis monograph offering a broad range of findings, whilst two fully published peer-reviewed publications, alongside several conference papers, ensure public visibility of our work. The published peer-reviewed articles are available in the Appendices section of this document.

Em fases transformadoras como a que se vive na atualidade com as tecnologias que impactam os processos produtivos de moda, os papéis desempenhados pelos designers se alteram. Neste contexto, o designer de moda parece se deparar entre as narrativas da cultura maker (influenciados por movimentos de contra-cultura, ao clamar por autonomia como o Arts & Crafts, DIY, movimento do software livre e open-source) e, por outro, os direcionamentos tomados pela indústria 4.0. (produção em escala, ultra-personalizadas, distribuída e com uso de dados). Estes dois âmbitos têm em comum interesse o uso de ferramentas de fabricação digital, por isso, os conhecimentos necessários para projetos desenvolvidos nestes espaços se difundem rapidamente. Contudo, ímpetos, narrativas, valores iniciais e interesses de diversas origens se mesclam de um modo difícil de distinguir (NASCIMENTO, S.; PÓLVORA, A.; 2016), mas que continuam a gerar agenciamentos. Esta investigação tem como objetivo apresentar um panorama dos percursos do designer de moda em meio ao contexto cultural e operacional da fabricação digital afim de destacar pontos de tensão e de disparidades sociais que passam pelo campo produtivo, afim de encontrar quais os próximos e melhores passos a serem dados. Deste modo, busca-se utilizar ferramentas digitais como impressoras 3D, escaners 3D e máquinas de corte a laser na com a intenção de trazer mais autonomia, acessibilidade, igualdade nas relações para designers de moda no Brasil. / In a phase of deep transformations with new technologies that impact the productive processes in the fashion field. In this context, the fashion designer finds himself between narratives devired from the the maker culture (following counter-culture movements, claiming for autonomy with the Arts & Crafts movement, DIY, later the free software movement, open-source) and the 4.0 industry (scale, ultrapersonalized, distributed production based on data). Both areas have the interest on digital fabrication in common, therefore, the required knowledge for projects developed in these spaces spreads rapidly. Yet, impulses, narratives and initial values cultuated by the maker movement seems to be mixed and dispersed (NASCIMENTO, S.; PÓLVORA, A.; 2016) while agency keep happening. The present investigation\'s aim is to present the paths followed by the fashion designer immersed in a cultural context and in the operational digital fabrication\'s context in order to find which are the best actions to be taken. In this sense, digital fabrication tools such as 3D printers, 3D scanners, laser cutter machines can be used to bring more autonomy, accessibility, equality in the relations and in the ways of producing for fashion designers in Brasil.

Em fases transformadoras como a que se vive na atualidade com as tecnologias que impactam os processos produtivos de moda, os papéis desempenhados pelos designers se alteram. Neste contexto, o designer de moda parece se deparar entre as narrativas da cultura maker (influenciados por movimentos de contra-cultura, ao clamar por autonomia como o Arts & Crafts, DIY, movimento do software livre e open-source) e, por outro, os direcionamentos tomados pela indústria 4.0. (produção em escala, ultra-personalizadas, distribuída e com uso de dados). Estes dois âmbitos têm em comum interesse o uso de ferramentas de fabricação digital, por isso, os conhecimentos necessários para projetos desenvolvidos nestes espaços se difundem rapidamente. Contudo, ímpetos, narrativas, valores iniciais e interesses de diversas origens se mesclam de um modo difícil de distinguir (NASCIMENTO, S.; PÓLVORA, A.; 2016), mas que continuam a gerar agenciamentos. Esta investigação tem como objetivo apresentar um panorama dos percursos do designer de moda em meio ao contexto cultural e operacional da fabricação digital afim de destacar pontos de tensão e de disparidades sociais que passam pelo campo produtivo, afim de encontrar quais os próximos e melhores passos a serem dados. Deste modo, busca-se utilizar ferramentas digitais como impressoras 3D, escaners 3D e máquinas de corte a laser na com a intenção de trazer mais autonomia, acessibilidade, igualdade nas relações para designers de moda no Brasil. / In a phase of deep transformations with new technologies that impact the productive processes in the fashion field. In this context, the fashion designer finds himself between narratives devired from the the maker culture (following counter-culture movements, claiming for autonomy with the Arts & Crafts movement, DIY, later the free software movement, open-source) and the 4.0 industry (scale, ultrapersonalized, distributed production based on data). Both areas have the interest on digital fabrication in common, therefore, the required knowledge for projects developed in these spaces spreads rapidly. Yet, impulses, narratives and initial values cultuated by the maker movement seems to be mixed and dispersed (NASCIMENTO, S.; PÓLVORA, A.; 2016) while agency keep happening. The present investigation\'s aim is to present the paths followed by the fashion designer immersed in a cultural context and in the operational digital fabrication\'s context in order to find which are the best actions to be taken. In this sense, digital fabrication tools such as 3D printers, 3D scanners, laser cutter machines can be used to bring more autonomy, accessibility, equality in the relations and in the ways of producing for fashion designers in Brasil.

Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-15T20:40:58Z No. of bitstreams: 1 Elton Reis Monezi.pdf: 4554203 bytes, checksum: e152b86771479a12bebf84bb6ce8562d (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-17T18:23:54Z (GMT) No. of bitstreams: 1 Elton Reis Monezi.pdf: 4554203 bytes, checksum: e152b86771479a12bebf84bb6ce8562d (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-17T18:25:07Z (GMT) No. of bitstreams: 1 Elton Reis Monezi.pdf: 4554203 bytes, checksum: e152b86771479a12bebf84bb6ce8562d (MD5) / Made available in DSpace on 2018-10-17T18:25:18Z (GMT). No. of bitstreams: 1 Elton Reis Monezi.pdf: 4554203 bytes, checksum: e152b86771479a12bebf84bb6ce8562d (MD5) Previous issue date: 2018-02-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research investigates the meaning of industrial production as a counterpoint to the emerging proposal of digital manufacturing contemporary model, which includes the Maker culture and its admissible interference in the materialization of goods and its relationship with design, industry and consumer. It aims to evaluate the relevance of Fabrication Laboratories (Fab Labs), in the city of São Paulo, as being auspicious environments to disruptive innovation and entrepreneurship, in the productive and social insertion scenario. There is a practical demand into Fab Labs, where visitors are allowed to build elements without prior design knowledge or drawing software. The method adopted in the research is qualitative and includes a data survey through interviews with the heads of four laboratories selected in the city of São Paulo, and, subsequently, the critical analysis of the data is made. It is questioned if the culture of manufacture would cause substantial mutations in a capitalist system and what would be the most appropriate practice to society. / Esta pesquisa investiga os meios de produção industrial em contraponto à proposta emergente de modelo contemporâneo de fabricação digital, na qual está inserida a cultura Maker e sua admissível interferência na materialização de mercadorias e sua relação com design, indústria e consumidor. Tem como objetivo avaliar a relevância dos laboratórios de fabricação digital (Fab Labs), na cidade de São Paulo, como ambientes propícios à inovação disruptiva e ao empreendedorismo, no cenário produtivo e de inserção social. Existe uma demanda prática nos Fab Labs, nos quais se permite aos frequentadores, construir elementos sem conhecimento prévio de projeto ou de softwares de desenho. O método adotado, na pesquisa, é o qualitativo, e inclui um levantamento de dados por meio de entrevistas aos responsáveis de quatro laboratórios selecionados na cidade de São Paulo; e, na sequência, faz-se a análise crítica dos dados. Questiona-se se a cultura de fabricação provocaria mutações substanciais em um sistema capitalista e qual seria a prática mais adequada à sociedade.

The thesis primarily aims to analyze the situation of DIY culture on the specific case of contemporary DIY photography through a research focused on photography students and alumni at Czech photography programmes. The research consists of fifteen in-depth interviews conducted with the students or alumni providing qualitative data that is analyzed quantitatively using the interviewees' coded answers. The secondary aim is to provide a theoretical background to the topic of DIY photography, exploring the connection between photography and DIY (Do It Yourself) in its historical context, as well as its current standing, as well as to introduce the photography medium's evolution briefly, focusing on the methods that were discovered, or applied, with a certain level of amateurism or through contribution from another field. Later, it explores the concept of DIY in different forms, subcultures, and contexts to draw a conclusion of how photography and DIY relate. The thesis' findings are centred around the struggle photographers feel when it comes to DIY in digital technologies, mainly due to limits in their skills in hands-on processes compared to analogue photography and the overall level of satisfaction with the available technology.

The state of STEM education in America's high schools is currently in flux, with billions annually being poured into the NSF to increase national STEM literacy. Hands-on project-based learning interventions in the STEM classroom are ubiquitous but tend to focus on robotics or competition based curriculums. These curricula do not address musical creativity or cultural relevancy to reach under-represented or disinterested groups. By utilizing an analog synthesizer for STEM learning standards this research aims to engage students that may otherwise lack confidence in the field. By incorporating the Maker Movement, a STEAM architecture, and culturally relevant musical examples, this study’s goal to build both self-efficacy and literacy in STEM within under-represented groups through hands-on exercises with a Moog analog synthesizer, specifically the Moog Werkstatt. A quasi-experimental one-group pre-test/post-test design was crafted to determine study validity, and has been implemented in three separate studies. Several age demographics were selected across a variety of classroom models and teaching style. The purpose of this wide net was to explore where a tool like the Werkstatt and its accompanying curriculum would have the biggest impact. Results show that this curriculum and technique are largely ineffective in an inverted Music elective classroom. However, in the STEM classroom, literacy and confidence were built across genders, with females showing greater increases in engineering confidence and music technology interest than their male counterparts.

[pt] Esta dissertação apresenta reflexões sobre o Ensino Maker (EM) à luz de práticas de Design, como contribuição para lidar com as demandas e complexidades dos processos de ensino-aprendizagem na contemporaneidade. O surgimento de um cenário atípico de isolamento social em 2020, decorrente da pandemia da COVID-19, trouxe um novo contexto para as práticas pedagógicas maker e consequentemente para esta pesquisa, exigindo que essa metodologia ativa fosse analisada sob a perspectiva do ensino remoto. A pesquisa qualitativa envolveu revisão bibliográfica e documental e observação participante. Primeiramente, definições e premissas maker foram levantadas e fundamentadas a partir de autores especializados no tema, como Chris Anderson (2012), Dale Dougherty (2012) e Mark Hatch (2014). Dentre as premissas, o aprendizado prático por meio de projetos possibilitou o estabelecimento de conexões entre EM e Design, acenando com práticas pertinentes para o desenvolvimento de habilidades e competências para o século XXI. Três documentos que discutem os pilares e perspectivas para a educação contemporânea são analisados. A fim de conduzir uma reflexão sobre as repercussões do EM na prática, duas situações de ensino-aprendizagem foram observadas e relatadas: experiências de aulas maker remotas em uma escola particular e observação participante em um projeto de aprendizagem prática para escolas públicas, ambas voltadas para o ensino fundamental. A partir da articulação entre as ideias dos autores estudados e os dados coletados, registrados e interpretados, reflexões são elaboradas e uma proposta de redesign de experiência maker remota é apresentada como contribuição para uma aprendizagem criativa e participativa a distância. / [en] This master thesis presents reflections on Maker Education (EM) in the light of Design practices, as a contribution to deal with the demands and complexities of teaching-learning processes in contemporary times. The emergence of an atypical scenario of social isolation resulting from the pandemic COVID-19, brought a new context to the pedagogical practices of the maker and consequently to this research, requiring that this active methodology could also be analyzed from the perspective of remote education. The qualitative research involved bibliographic and documentary reviews, besides a participant observation. First, definitions and maker premises were raised and founded based on authors specialized in the theme, such as Chris Anderson (2012), Dale Dougherty (2012) and Mark Hatch (2014). Among the premises, practical learning through projects made it possible to establish connections between EM and Design, indicating relevant practices for the development of skills and competences for the 21st century. Three documents that discuss the pillars and perspectives for contemporary education are analyzed. In order to conduct a reflection on the repercussions of EM in practice, two teaching-learning situations were observed and reported: experiences of remote maker classes in a private school and a participant observation in a hands-on project for public schools, both aimed at elementary education. Based on the articulation between the ideas of the authors studied and the data collected, reported and interpreted, reflections are elaborated and a proposal to redesign the remote maker experience is presented as a contribution to creative and participative learning at distance.

This thesis project identifies an issue of limited interaction options with cell phones and considers it to be a design opening and opportunity, rather than a problem. The design opportunity presented in this work is for shaping of future cell phone interactions by allowing users to design their own cell phones. To explore this provocative yet complex design opportunity a programmatic design research approach is used. The design program in this thesis is referred to as the ‘Design-It-Together cell phone’, or the DIT cell phone, design program and can be described as a design research effort into how users working together to design and make their own cell phones could offer a new set of perspectives and possibilities in shaping future interaction options with cell phones in contrast to an industry lead cell phone design and development process. Furthermore, the motivation for this thesis is not problem-based but rather exploratory, where the intention is not to build an ideal phone but rather to explore the opportunities and challenges faced by the design program, and what that can mean for shaping the future of cell phone interactions. A comprehensive exploration of this design space was done in nine main explorations or nine main experiments. Each experiment was formulated to challenge a perspective of the design program. The results of the explorations generated a repertoire of examples relating to understanding the current situations and predictions for future possibilities for cell phone interactions. Interpretation of the design program was done by analyzing this repertoire of examples from the perspective of n nine specified dimensions of the design program. The dimensions acted as a guide in thinking about possible futures of cell phone interactions within the design space of the program. Interpretation of the design program in this way allowed for comprehensive scenarios to be created of what the future of cell phone interactions could be like, as well as gaps and bigger picture impacts of the design program. The overall results and contribution of this work adhered to what is expected from a programmatic design research approach and is stated here as knowledge generated from explorations and interpretation of the DIT cell phone design program, based on the generated repertoire of examples, which helps shape possible futures for cell phone interactions.

Open Source och relaterade mjukvarukoncept och utvecklingsmodeller är vid det här laget allmänt bekanta och har varit föremål för många studier. Open Source Hardware är mindre spritt och studerat, och så även emergent teknologi som för in traditionellt industriella tekniker som 3D-printing, laserskärare, och CAD-baserade produktionsverktyg i mindre skala i hem- och hobbymiljöer. Dessa ämnen har främst studerats ur mer renodlat tekniska perspektiv, snarare än att sättas i samband i en vidare kontext. Denna kombinerar internet som infrastruktur och socialt medium för kunskaps- och resursdelning; open source-koncept; de möjligheter som tillgängligheten av mer och mer kapabel och överkomlig hårdvara byggd på öppen design bereder; och andra relaterade socio-tekniska fenomen vilka börjat framträda de senaste 5-10 åren. I denna uppsats undersöker jag denna större kontext. Uppsatsen har utförts i form av en litteraturstudie av existerande forskning inom ovanstående diskreta områden, och i den mån de finns även dess inbördes relationer. Denna kontext framträder som ett emergent paradigm kring produktion av hemelektronik, och även som exemplifierande trenden av teknologins fortsatta intåg som allestädes närvarande i våra liv och vår omgivning. Resultaten indikerar en gryende förändring i hur vi interagerar med teknik, vilka som gör det och varför, i vilka kontexter, och ett framträdande av en ny ekonomi. Jag visar på att ytterligare forskning behövs, och att perspektivet bör flyttas från att analyseras enbart i diskreta termer som teknik, open source-principer, DIY et cetera, utan även till vad som framstår som resultatet där dessa konvergerar, den naturliga konsekvensen av ett folkligt anammande av denna teknik och open source-koncept.

<p>Makerspaces can support educational experiences in prototyping for young learners, while physical computing platforms enable high levels of creativity and expression. However, each of these have high barriers of entry, especially for youth without prior experience. Commercial microcontrollers have become a popular tool to use when designing both basic and complex electro-mechanical devices. Block-based programming interfaces are an ideal environment to program these microcontrollers, lowering the barrier of entry for young, novice programmers. Finally, incorporating physical computing devices alongside Augmented Reality (AR) presents opportunities for shared experiences between users, leading to more engagement, which creates opportunities for social interaction, ideation, and creativity. This thesis presents the MakAR project, which aims to empower youth to design, build, and play through interactions with AR, physical prototyping, and the Internet of Things (IoT). We sought to design an interactive system with which we can (1) explore novel interactions between physical and virtual content, (2) lower the barrier to entry for young makers to design, build, and play with DIY electro-mechanical devices, and (3) engage and collaborate with one another both virtually and physically in an AR-IoT environment. Our results provide evidence to how our system enables youth, with and without prior experience with physical computing, to both engage and struggle with designing AR-IoT interactions while using our system, helps reduce the barrier to entry for young users to create complex electro-mechanical devices, and provides unique shared AR-IoT experiences for both novices and expert users.</p>