Orientador: Corinta Maria Grizolia Geraldi / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-17T09:46:34Z (GMT). No. of bitstreams: 1 Silva_JosePauloMendesda_M.pdf: 2805616 bytes, checksum: 37e1097ea844ce36329fec57c3f6be3a (MD5) Previous issue date: 2009 / Resumo: Esta pesquisa é vinculada ao GEPEC - Grupo de Estudos e Pesquisas em Educação Continuada, da Faculdade de Educação da UNICAMP, e tem como tema a apropriação do espaço - territorial, virtual e de sujeitos - pela comunidade do Parque Oziel, em Campinas, uma das maiores ocupações urbanas da América Latina, onde moram cerca de 30.000 habitantes com uma história de lutas e conquistas, desde 1997. O problema que esta pesquisa se propôs a investigar é como o processo de apropriação do espaço territorial e do espaço virtual que teve lugar no Parque Oziel, em decorrência da ocupação, fortaleceu a constituição da identidade dos sujeitos que tornaram próprios esses espaços, especialmente daqueles que narraram suas histórias sobre a história da ocupação. Assim, foram dois os objetivos centrais da investigação: por um lado, contextualizar a apropriação do espaço territorial, como forma de afirmação da identidade de uma comunidade sem-teto, relacionando-a à apropriação também do espaço virtual e do lugar de sujeitos e, por outro, compreender a influência dessas conquistas nos sujeitos que as protagonizaram, considerando o binômio experiência e sentido. Para investigar esse processo, foram utilizadas como instrumentos de produção de dados entrevistas com pessoas que desenvolveram um papel de liderança na comunidade e diversas fontes documentais que tratam dos acontecimentos ocorridos na época da ocupação e no período subsequente. A abordagem metodológica, de pesquisa qualitativa, é pautada especialmente pela narrativa dos sujeitos entrevistados. A documentação do trabalho foi organizada também na forma de uma narrativa, porém em um modelo hipertextual, composto a partir de Páginas com textos completos, dispostos de modo não-linear, em que a apresentação das informações prevê a liberdade do leitor escolher os seus próprios caminhos de leitura, sem precisar trilhar um percurso único pré-estabelecido pelo autor. Isto permite uma abordagem rizomática do conteúdo das Páginas. Ainda que a realidade do texto impresso restrinja a potencialidade desse tipo de recurso, buscou-se a maior aproximação possível: cada Página foi produzida para representar por si um texto inteligível embora as páginas estejam interligadas entre si. Os principais conceitos desenvolvidos são os de experiência, alteridade, virtual e ciberespaço. As respostas possíveis para o problema central da investigação, a partir dos dados analisados, indicam algumas lições importantes. Uma delas é que o tipo de experiência (Larrosa, 2004b) que tem lugar em um processo como o que ocorreu no Parque Oziel, produz efeitos de transformação nos sujeitos que ampliam significativamente o poder sobre si mesmos e sobre o mundo que os cerca, o sentimento de pertença, a identidade pessoal e coletiva e, portanto, as possibilidades efetivas de exercício da cidadania. / Abstract: This research is entailed to GEPEC - Grupo de Estudos e Pesquisas em Educação Continuada da Faculdade de Educação da UNICAMP, and has as theme the space appropriation - territorial, virtual and subject - by Parque Oziel community, in Campinas, one of the biggest Latin America's urban occupations, where about 30,000 habitants live with a conquests and struggles history since 1997. The problem that this research intends to investigate is how the appropriation process of the territorial and virtual space that took place at Parque Oziel, as a result of the occupation, fortified the subject's identity constitution that turned characteristics these spaces, especially those who narred their histories about the occupation history. Thus, the two central objectives of the investigation were: on one side, contextualize the territorial space appropriation, as a way of identity affirmation of a homeless community, relating this to the appropriation of the virtual space too, and to the subject's place and, on the other hand, understand the influence of these conquests on the subjects that were the protagonists, considering the terms experience and feeling. To investigate this process, interviews with people that played the part of leadership in the community and several documental sources that deal with the events that took place at the period of the occupation and subsequent period, were utilized as instruments of data productions. The methodological approach, of quality research, is ruled especially through the narrative of the interviewees subjects. The documentation of the work was also organized as a narrative, however in a hipertextual model, composed from pages with complete texts, arranged in a non linear way, where the presentation of the informations foresee the reader liberty to choose his own ways of reading, without thrashing a single course established by the author. This allows a rizomatic approach of the pages contents. Even if the reality of the printed text restricts the potential of this kind of recourse, the biggest possible approximation was searched: each page was produced to represent by itself an intelligible text, though the pages are connected amongst themselves. The main concepts developed are about experience, otherness, virtual and cyberspace .The possible answers to the investigation central problem, from the analysed data, show some important lessons. One of them is that the kind of experience (Larrosa, 2004b) that takes place on a process like the one that occurred at Parque Oziel, takes effects of transformation on the subjects, that enlarge meaningfully the power upon themselves and on the world around them, the sense of belonging, the collective and personal identity and, therefore, the effective possibilities of the citizenship practice. / Mestrado / Ensino, Avaliação e Formação de Professores / Mestre em Educação

Electroacoustic music is often regarded as not being sufficiently accessible to the general public because of its sound-based abstract quality and the complexity of its language. Live electronic music introduces the figure of the performer as a gestural bodily agent that re-enables our multimodal perception of sound and seems to alleviate the accessibility dilemma. However, live electronic music generally lacks the level of detail found in studio-based fixed media works, and it can hardly be transferred outside the concert hall situation (e.g. as a video recording) without losing most of its fresh, dynamic and unpredictable nature. Recent developments in 3D simulation environments and game audio technologies suggest that alternative approaches to music composition and distribution are possible, presenting an opportunity to address some of these issues. In particular, this Portfolio of Compositions proposes the use of real and virtual space as a new medium for the creation and organisation of sound events via computer-simulated audio-sources. In such a context, the role of the performer is sometimes assumed by the listener itself, through the operation of an interactive-adaptive system, or it is otherwise replaced by a set of automated but flexible procedures. Although all of these works are sonic centric in nature, they often present a visual component that reinforces the multimodal perception of meaningful musical structures, either as real space locations for sonic navigation (locative audio), or live visualisations of physically-informed gestural agents in 3D virtual environments. Consequently, this thesis draws on general game-audio concepts and terminology, such as procedural sound, non-linearity, and generative music; but it also embraces game development tools (game engines) as a new methodological and technological approach to electroacoustic music composition. In such context, space and the real-time generation, control, and manipulation of assets combine to play an important role in broadening the routes of musical expression and the accessibility of the musical language. The portfolio consists of six original compositions. Three of these works–Swirls, Alice - Elegy to the Memory of an Unfortunate Lady, and Alcazabilla–are interactive in nature and they required the creation of custom software solutions (e.g. SonicMaps) in order to deal with open-form musical structures. The last three pieces–Singularity, Apollonian Gasket, and Boids–are based on fractal or emergent behaviour models and algorithms, and they propose a non-interactive linear organisation of sound materials via real-time manipulation of non-conventional 3D virtual instruments. These original instrumental models exhibit strong spatial and kinematic qualities with an abstract and minimal visual representation, resulting in an extremely efficient way to build spatialisation patterns, texture, and musical gesture, while preserving the sonic-centric essence of the pieces.

The topic of the diploma thesis is the creation of a computer game of the platform genre called "Nav". The work examines the stages of game creation and the position of games in contemporary art. The purpose of this work is to create a game based on Slavic, especially Ukrainian, mythology.

In recent years, progress has been made regarding the use of tactile devices such as belts and helmets for navigational tasks. As most of the devices and solutions so far have focused on presenting one type of information at a time, the potential for tactile devices for simultaneous multiple tasks have yet to be properly explored. Based on such research, this study investigates various methods of presenting multiple simultaneous information using a vibrotactile head-mounted device for navigational tasks in a virtual space. The goal is to determine if it is possible to effectively present various simultaneous navigational information with vibrotactile feedback in a virtual space, and if so, determine guidelines for doing so while avoiding cognitive overload. Using a tactile head-mounted device known as the Perman Helmet various functions related to several navigational tasks in a virtual space were developed. These tasks were collision avoidance, object search and compass orientation. First a test was conducted to determine the most suitable solution for each given task. For each task three different types of solutions were developed, tested, and evaluated in an appropriate testing scenario. Afterwards, a second test was conducted to determine guidelines for how to combine those various solutions to present as much information as possible while avoiding cognitive overload. A new testing environment was created that incorporated all three tasks and various combination of the solutions were tested, along with two special configurations to test other factors. The results from the experiments shows that using several simultaneous vibrotactile signals representing different types of information is feasible and practical with at least 3 different types of signals. Furthermore, various types approaches and combinations have been considered and compared. Based on these findings, several guidelines when developing systems informing a user with multiple vibrotactile feedback signals have been proposed. These findings could help hasten the development of commercial and industrial multiuse vibrotactile devices, making it a relevant field of study. / Under senare år har en rad framsteg gjorts i utveckling av haptiska enheter så som bälten och hjälmar för navigation. Då fokus har legat på att en enhet ska lösa ett specifikt problem saknas det ordentlig utredning av haptiska enheters potential att hantera flera uppgifter simultant. Baserat på tidigare forskning utforskas det i denna rapport olika metoder att presentera multipla simultana informationsflöden via en vibrotaktil huvudmonterad enhet i syfte att navigera en virutell miljö. Baserat på om dessa metoder kan användas effektivt utan att överbelasta en användare tas därefter riktlinjer för sådana system fram. Med hjälp av en taktil huvudmonterad enhet kallad Perman Hjälmen togs en rad funktioner ämnade för att navigera i en virtuell rymd fram. Dessa funktioner var kollisionsförebyggande system, målsökning samt kompassorientering. För varje funktion togs tre olika lösningar fram och utvärderades i en lämplig miljö. Efteråt utfördes ett andra experiment för att ta fram riktlinjer för hur olika lösningar för olika uppgifter bör kombineras för att presentera maximal mängd information utan att överbelasta användare. En ny anpassad testmiljö utvecklades och olika kombinationer av lösningar till de olika uppgifterna utvärderades. Även två specialkonfigurationer togs fram för att testa specifika faktorer. Resultaten från experimenten visade att använda flera simultana vibrotaktila informationsflöden var praktiskt möjligt med åtminstone tre distinkta typer av flöden. Utöver detta har olika tillvägagångssätt och kombinationer övervägts och jämförts. Baserat på detta har flera riktlinjer tagits fram för utveckling och vidareforskning av system med multipla simultana vibrotaktila informationsflöden. Dessa slutsatser kan komma att bidra till vidareutveckling av framtida kommersiella och industrianpassade vibrotaktila enheter, vilket gör detta ett relevant forskningsområde.

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This thesis is a contribution to design-led research and addresses a readership in the fields of architecture as well as in media and communications. In juxtaposing the tools of the designer (e.g. drafting, prototyping, visual/textual/spatial forms of montage) with those of architectural theory, this thesis seeks to extend the disciplinary boundaries of architecture by observing its assimilation of other media practices. Its primary contribution is to architectural design and theory, and its aims are twofold: Firstly, this thesis applies the concepts of virtual and mediated space to architecture, proposing an extended architectural practice that assimilates the concept of remote presence. Through realized design examples as well as through the history and theory of related concepts, the thesis explores what designing mediated spaces and designing for presence entails for the practicing architect. As a fusion of architecture and media technology, video-mediated spaces facilitate collaborative practices across spatial extensions while simultaneously fostering novel and environmentally sustainable modes of communication. The impact of presence design on workplace design is examined. As an extended practice also calls for an extended discourse, a preliminary conceptual toolbox is proposed. Concepts are adapted from related visual practices and tested on design prototypes, which arise from the author’s extensive experience in designing work and learning spaces. Secondly, this thesis outlines presence design as a transdisciplinary aesthetic practice and discusses the potential contribution of architects to a currently heterogeneous research field, which spans media space research, cognitive science, (tele)presence research, interaction design, ubiquitous computing, second-order cybernetics, and computer-supported collaborative work. In spite of such diversity, design and artistic practices are insufficiently represented in the field. This thesis argues that presence research and its discourse is characterised by sharp disciplinary boundaries and thereby identifies a conceptual gap: presence research typically fails to integrate aesthetic concepts that can be drawn from architecture and related visual practices. It is an important purpose of this thesis to synthesize such concepts into a coherent discourse. Finally, the thesis argues that remote presence through the proposed synthesis of architectural and technical design creates a significantly expanded potential for knowledge sharing across time and space, with potential to expand the practice and theory of architecture itself. The author’s design-led research shows that mediated spaces can provide sufficient audiovisual information about the remote space(s) and other person(s), allowing the subtleties of nonverbal communication to inform the interaction. Further, in designing for presence, certain spatial features have an effect on the user’s ability to experience a mediated spatial extension, which in turn, facilitates mediated presence. These spatial features play an important role in the process through which trust is negotiated, and hence has an impact on knowledge sharing. Mediated presence cannot be ensured by design, but by acknowledging the role of spatial design in mediated spaces, the presence designer can monitor and, in effect, seek to reduce the ‘friction’ that otherwise may inhibit the experience of mediated presence. The notion of ‘friction’ is borrowed from a context of knowledge sharing in collaborative work practices. My expanded use of the term ‘design friction’ is used to identify spatial design features which, unaddressed, may be said to impose friction and thus inhibit and impact negatively on the experience of presence. A conceptual tool-box for presence design is proposed, consisting of the following design concepts: mediated gaze, spatial montage, active spectatorship, mutual gaze, shared mediated space, offscreen space, lateral and peripheral awareness, framing and transparency. With their origins in related visual practices these emerge from the evolution of the concept of presence across a range of visual cultures, illuminating the centrality of presence design in design practice, be it in the construction of virtual pictorial space in Renaissance art or the generative design experiments of prototypical presence designers, such as Cedric Price, Gordon Pask and numerous researchers at MIT Media Lab, Stanford Institute and Xerox PARC. / QC 20100909

The interrelation between space and culture represents the central question of this doctoral thesis. To interpret this relationship the author approaches the issue by virtue of actual identity attributes of the selected ethnic groups, namely Slovak and Hungarian minorities living in Prague. The aim of the work is to define the relevance and unique representation of the spatial and cultural phenomenon in the context of existing relations, including determining the extent of observability this mutual connection. The hypothesis of this doctoral is to present culture as a spatially unbounded, and the phenomenon of space as a medium, which can influence the intensity of interest in relation to the own ethno-identifying components. The verification of this assumption author carries out within social and virtual space, on the basis of registered discourses. Discourses, sorted into thematic categories, represent the most common attributes of ethnicity and ethnic identity of the given target groups. The empirical part of this thesis contains the analysis and interpretation of the discourses, which are supported with the theory of articulation. More comprehensive definitions of applied theoretical approaches, together with terminology, research methods and ethics or netiquette, are situated in the...

In my diploma thesis am focusing on a concept of novel sutdent housing, as current dormitories do not respect recuirements of young adults. That is why I have decided to bring up the issue, and to propose a possible solution.

In my diploma thesis am focusing on a concept of novel sutdent housing, as current dormitories do not respect recuirements of young adults. That is why I have decided to bring up the issue, and to propose a possible solution.

Useless things. I normally use trash things like pattern in painting still life. My father suffers from obsessive compulsive disorder – accumulation of things. In addition to painting, I also work with objects themselves. My interest also closely related to how the concepts of the subject, object and artifact are appliing in contemporary art. There are the tradition of imitation fact, principle of ready-made, the issue of technical reproducibility and virtual reality of things in history of art. As a central theme of my thesis, I selected the part of bodywork Tatra 613, which carries all the testimony about ,,useless and hopeless "situation in which it is located. It is also an object monumental and visually very aesthetic. Yet it is not my intention to settle for the principle of redy-made. Asked about artwork as intermediaries art and its seemingly useless producing and reproducing, I want to try to create another such usless situation. That's why I make a cardboard copy (1: 1) of this object. I also make video with motive 3D copy of the same object. I like to create some voltage between that useless object and valuable art practice. I think, it does not just mean such futility when these objects will be viewed as an art.