Den här doktorsavhandlingen presenterar ytinteraktion som ett gränssnitts-paradigm för grafiska användargränssnitt inom kreativa tillämpningar. Ytinteraktion utgår ifrån användarnas innehåll och allt innehåll presenteras på en oändligt stor tvådimensionell yta. Ytan är gränssnittet mot en databas som navigeras och zoom, pan och textfilter. Textfilter används för att visa vilka innehållselement som motsvarar en textsträng, ju fler tecken i strängen, desto färre motsvarande element. Ytinteraktion gör att användare kan dela och redigera innehåll tillsammans via synkront samarbete.Ytinteraktion har studerats genom att utveckla en interaktiv prototyp för kollaborativ live multimedia. Prototypen designades tillsammans med musik- och videoartister inom electronica- och klubbmusikgenren. Den kan användas med pekskärm eller med skäm, mus och tangentbord. Design-processens resultat utvärderades genom en fallstudie som omfattade artisternas förberedelse inför och genomförandet av ett framträdande vid en festival. Analysen av data resulterade i fem bruksvärden; instrumentvärde, kommunikationsvärde, förberedelsevärde, livevärde och underhållningsvärde. Det huvudsakliga bruksvärdet var att den interaktiva prototypen uppfattades som ett instrument. Prototypens design underlättade kommunikationen mellan artisterna i flykten på scen. Instrumentvärdet gjorde det lättare att spela live vilket i sin tur medförde att publiken blev underhållen. Kunskap om den interaktiva prototypen och ytinteraktion har formats med forskning genom design där aktionsforskning var det övergripande ramverket i forskningsprocessen. Aktionsforskning är ett kvalitativ förhållningssätt som sätter fokus på praktikers deltagande i forskningsprocessen och att forskningen intervenerar i praktiken med syfte att förbättra den och att inducera kunskap. Som ett resultat av designprocessen presenteras designprinciper för ytinteraktion. Dessa gör resultaten användbara för praktiker inom interaktionsdesign, människa–datorinteraktion och programvaruteknik. / This dissertation presents surface interaction as an interface paradigm for graphical user interfaces of creative applications. The users' content is the basis for surface interaction, and all content is presented on an infinitely large two-dimensional surface. The surface is an interface to a database, and is navigated by zoom, pan, and text filter. Text filter is to display which content elements match a text string, the more characters of the string the less matching element. Surface interaction allows users to share and edit content collaboratively via synchronous collaboration. Surface interaction was examined by developing an interactive prototype for collaborative live multimedia. The prototype was designed in collaboration with music and video artists within the genres of electronica and club music. It can be used either with a touch screen or with a monitor, mouse, and keyboard. The result of the design process was evaluated in a case study which included the artists' preparations for and carrying through of  a live performance at a festival. The analysis of data yielded five utility values; instrument value, communication value, preparation value, live value, and entertainment value. The main utility value of the interactive prototype was that the artists saw it as instrument.  The design of the prototype made communication easier in the live situation on stage. The instrument value made it easier to play live which consequently entertained the audience.Cognition in the interactive prototype and surface interaction has been created with research through design where action research was the overarching framework. Action research is a qualitative method  which focuses on the participating practitioners and on the intervention of the practice with the purpose improving the practitioner’s situation and of increasing the knowledge of the participants. Design principals and guidelines will be presented as a result of the design process. The guidelines make the results of this dissertation applicable to practitioners of interaction design, human computer interaction and software engineering.

Este memorial consiste na reflexão estética e técnica do processo de composição musical realizado na peça Anamnesis, pertencente à área da Música Eletroacústica Mista, que configurou o trabalho artístico do curso de mestrado. O trabalho escrito está dividido em três partes: a primeira aborda a postura do compositor frente aos sons e a música, suas motivações, expectativas, influências e inspirações estéticas; a segunda compreende reflexões composicionais sobre o processo criativo, a descrição de procedimentos e técnicas adotadas, além do relato de dificuldades encontradas; a terceira apresenta uma reflexão da experiência após a realização da obra em recital e após a escrita das duas primeiras partes deste memorial, com a finalidade de identificar as contribuições para o desenvolvimento do compositor e para o meio musical. / This Masters Dissertation comprises an aesthetical and technical reflection on the compositional process of Anamnesis, a live electroacoustic music composition. It is divided into three sections, of which the first discusses the positioning of the composer in relation to sounds and music, his motivations, influences and aesthetical inspirations. The second part reflects on the creative process and describes its procedures and techniques, as well as the difficulties that arose during the composition. The third and last part presents a post-recital reflection and a reflection on the first two parts of the Dissertation. Its aim is to identify the contributions that this Masters Dissertation might present to its writer as well as to the musical milieu.

Este memorial consiste na reflexão estética e técnica do processo de composição musical realizado na peça Anamnesis, pertencente à área da Música Eletroacústica Mista, que configurou o trabalho artístico do curso de mestrado. O trabalho escrito está dividido em três partes: a primeira aborda a postura do compositor frente aos sons e a música, suas motivações, expectativas, influências e inspirações estéticas; a segunda compreende reflexões composicionais sobre o processo criativo, a descrição de procedimentos e técnicas adotadas, além do relato de dificuldades encontradas; a terceira apresenta uma reflexão da experiência após a realização da obra em recital e após a escrita das duas primeiras partes deste memorial, com a finalidade de identificar as contribuições para o desenvolvimento do compositor e para o meio musical. / This Masters Dissertation comprises an aesthetical and technical reflection on the compositional process of Anamnesis, a live electroacoustic music composition. It is divided into three sections, of which the first discusses the positioning of the composer in relation to sounds and music, his motivations, influences and aesthetical inspirations. The second part reflects on the creative process and describes its procedures and techniques, as well as the difficulties that arose during the composition. The third and last part presents a post-recital reflection and a reflection on the first two parts of the Dissertation. Its aim is to identify the contributions that this Masters Dissertation might present to its writer as well as to the musical milieu.

Este memorial consiste na reflexão estética e técnica do processo de composição musical realizado na peça Anamnesis, pertencente à área da Música Eletroacústica Mista, que configurou o trabalho artístico do curso de mestrado. O trabalho escrito está dividido em três partes: a primeira aborda a postura do compositor frente aos sons e a música, suas motivações, expectativas, influências e inspirações estéticas; a segunda compreende reflexões composicionais sobre o processo criativo, a descrição de procedimentos e técnicas adotadas, além do relato de dificuldades encontradas; a terceira apresenta uma reflexão da experiência após a realização da obra em recital e após a escrita das duas primeiras partes deste memorial, com a finalidade de identificar as contribuições para o desenvolvimento do compositor e para o meio musical. / This Masters Dissertation comprises an aesthetical and technical reflection on the compositional process of Anamnesis, a live electroacoustic music composition. It is divided into three sections, of which the first discusses the positioning of the composer in relation to sounds and music, his motivations, influences and aesthetical inspirations. The second part reflects on the creative process and describes its procedures and techniques, as well as the difficulties that arose during the composition. The third and last part presents a post-recital reflection and a reflection on the first two parts of the Dissertation. Its aim is to identify the contributions that this Masters Dissertation might present to its writer as well as to the musical milieu.

Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2017-09-29T19:31:40Z No. of bitstreams: 2 Dissertação - Lucas Moysés Ceccato Neves - 2016.pdf: 5891923 bytes, checksum: ba4b1d2ea0af41afc00de7aded5b6957 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-10-02T13:06:42Z (GMT) No. of bitstreams: 2 Dissertação - Lucas Moysés Ceccato Neves - 2016.pdf: 5891923 bytes, checksum: ba4b1d2ea0af41afc00de7aded5b6957 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-10-02T13:06:42Z (GMT). No. of bitstreams: 2 Dissertação - Lucas Moysés Ceccato Neves - 2016.pdf: 5891923 bytes, checksum: ba4b1d2ea0af41afc00de7aded5b6957 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-05-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The objective is to relate the concept of soundscape with the electroacoustic composition techniques. Some important concepts defining soundscape as well as the ideas that have originated electroacoustic music are discussed herein. This work is divided into two parts: the first one, a review in the literature regarding critical and conceptual matters, as can be seen in Part A, and the second one, the search of urban acoustic environments in order to capture the soundscape, which wasperformed throughout the research, being the compositions arisen in this study described in Part B. / O objetivo deste trabalho é relacionar o conceito de paisagem sonora com as técnicas composicionais eletroacústicas. Buscamos discutir e compreender conceitos importantes para a definição de paisagem sonora e também ideias fundamentais que deram origem a música eletroacústica. Este trabalho está dividido em duas partes. A primeira, sobre um estudo feito através de pesquisa bibliográfica. A segunda, sobre uma descoberta de espaços e ambientes acústicos urbanos. De início, com intuito crítico e conceitual, tal como poderemos conferir na Parte A. Depois, para a captação de paisagens sonoras. Esta prática foi realizada ao longo de toda a pesquisa, cujas composições produzidas a partir desses estudos práticos se encontram descritas na Parte B.

Aujourd'hui, de nombreux appareils sont capables de capturer des vidéos en Full HD et d'utiliser une connexion réseau pour accéder à Internet. La popularisation des dispositifs et les efforts continus pour améliorer la qualité du réseau ont apporté un environnement propice à l'essor de la diffusion en direct. De par la grande quantité de contenu généré par les utilisateurs, la diffusion de flux en direct présente de nouveaux défis. Dans cette thèse, nous nous intéressons à la distribution et au transcodage des systèmes de diffusion en direct. Pour étudier les différent aspects des systèmes de diffusion en direct nous avons besoin de les caractériser et d'évaluer les solutions proposées avec des traces pertinentes. Par conséquent, notre première contribution est un ensemble de données et son analyse, contenant trois mois de traces de deux services de streaming en direct. Ensuite, nous avons exploré et développé des solutions pour la distribution du contenu produit par ces platesformes. L'un des défis est l'hétérogénéité de popularité des flux. Ceci implique généralement un surdimensionnement des services et par conséquent un gaspillage de ressources. Enfin, nous nous sommes focalisés sur les difficultés posées par le transcodage des flux en direct. Les opérations de transcodage sont coûteuses en ressources CPU et sont des étapes clés pour le Streaming à Débit Adaptatif (SDA). Nous montrons que le SDA est capable de réduire le coût en bande passante pour la distribution et d'augmenter la qualité d'expérience des téléspectateurs en échange d'un coût en ressources CPU. Pour comprendre le compromis entre les avantages et les coûts, nous formulons deux problèmes de gestion. / Today many devices are capable to capture full HD videos and to use its network connection to access Internet. The popularization of devices and continuous efforts to increase network quality has brought a proper environment for the rise of live streaming. Associated to the large scale of Users Generated Content (UGC), live streaming presents new challenges. In this thesis we target the delivery and transcoding of live streaming systems.First, to study the aspects we target of live streaming systems we need to characterize them and evaluate the proposed solutions with relevant traces. Therefore our first contribution is a data set, and its analysis, containing three months traces of two UGC live streaming services.Second, we explored and developed solutions for the delivery of the content produced by these platforms. One of the challenges is the heterogeneity among streams popularity, which generally implies over-provisioning and consequently resource waste. We show that there is a trade-off between the number of servers involved to broadcast the streams and the bandwidth usage among the servers. We also stress the importance to predict streams popularity in order to efficiently place them on the servers.Lastly, we target the difficulties concerning transcoding of live streams. The transcoding operations over streams are computing consuming and are key operations on adaptive bit rate streaming. We show that adaptive streaming is able to reduce the delivery bandwidth cost and to increase viewer quality of experience at the cost of computing resources. We formulate two management problems to address the trade-off between benefits and costs.

In this project, a band’s possibilities to deepen its improvisational capabilities as a group has been studied. The goal has been to make it possible for a quartet to improvise arrangements of original compositions in terms of varying forms, dynamics, tempi and roles in the music. To achieve this, several interplay exercises have been created to practice these parameters. After the concert related to the project, an analysis has been conducted on which of these exercises that seem to have influenced the band the most, but also which characteristics that made some exercises seem influential and some redundant.   After acknowledging the difficulties of knowing what is a result of the exercises, and what is merely a display of the quartet’s natural interplay, a conclusion has been reached. The interplay exercises that seem to deepen a group’s capabilities for improvising arrangements are the ones that can be done very concrete, but also be varied and feed new ideas. This was audible in a concert situation, where exercises in looping, free improvisation and varying musical roles became prominent. On the contrary, exercises that are too narrow, making them difficult to evolve, do not seem to have the same effect on a group’s interplay. Examples of these are playing fast rubato, or changing instrumentation quickly. / <p><strong>Repertoar:</strong>"Ask Me Now" - Thelonious Monk</p><p>"Anti" - Olle Lannér Risenfors</p><p>"Allt Hör Ihop" - Olle Lannér Risenfors</p><p>"Preparations Are Important?" - Olle Lannér Risenfors</p><p>"Never Ending" - Olle Lannér Risenfors</p><p>(Extranummer) "Now's The Time" - Charlie Parker</p><p><strong>Medverkande:</strong></p><p>Marius Zeeberg - tenorsaxofon</p><p>David Stener - piano</p><p>Olle Lannér Risenfors - kontrabas</p><p>Nils Agnas - trumset</p><p>Bifogat finns inspelning från examenskonserten.</p>

The live video streaming market is, as some research suggests, a difficult one to develop.Comparing it to other media it has the disadvantage of being available during a limitedperiod of time. This thesis explores how mobile devices can be used as an exploratorytool through live video streaming. The opportunity of control in the moment is studiedand examined in this report. This research will suggest a mobile device platform in whichpeople can assist other people exploring new environments around the globe. It also triesto evaluate whether this exploring interaction can occur between unacquainted people andat the same time not be hindered by any language barriers. The motivation behind thissubject is the human need and curiosity of exploring new environments and places.The foundation of the research approach was based on interaction design principles andmethods. This created a chain of methods used with the intent of better understandingwhat is to be considered when designing for live video experiences focusing onenvironments. The process lead to important understandings and key aspects to beconsidered when designing live experiences focusing on environments. The results thatemerged, showed that the most important encouragement is; to be presented with anenvironment that includes novel elements. Furthermore, the results could also concludethat by giving access to directional controls, and some means of expressing appreciation,can help to influence and shape exploration with live video.

Bakgrund: Diabetes mellitus typ 1 är en autoimmun sjukdom och antalet som insjuknar ökar varje år. Under ungdomstiden sker mycket i människans kropp och det kan vara en utmaning att balansera blodsockernivåer när hormonerna i kroppen svajar. Ungdomar med diabetes mellitus typ 1 står därför inför stora utmaningar för att lyckas med sin behandling. Syfte: Syftet är att belysa ungdomars upplevelser av att leva med diabetes mellitus typ 1. Metod: Metoden är en litteraturstudie baserad på både kvalitiva och kvantitativa studier. Analysen är genomförd utifrån en modell av Axelsson (2012). Resultat: I resultatet framkom att ungdomarna med diabetes mellitus typ 1 växte in i rollen i att bli mer självständiga i sin behandling. Detta var inte alltid lätt. Ungdomarna påverkades av hur deras vänner bemötte diagnosen, hur de blev bemötta av vården samt hur villiga deras föräldrar var att lämna över ansvaret. Resultatet presenteras utifrån fyra huvudteman samt nio subteman. Diskussion:I diskussionen tar vi upp vikten av att jobba med målet att patienten ska få kunskap så att denne kan sköta sin behandling självständigt. Vikten av stöd för att motverka känslor av skam för sjukdomen och dess behandling belyses också.

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