This project is about storytelling, community building & management, and altering preconceived negative notions surrounding video games as a whole. Originally starting off as an idea of creating a game alongside people coming from both gaming and non-gaming backgrounds, the focus was then shifted towards creating with the former to be then exposed to the latter. More specifically, non-gaming individuals exhibiting doubt and criticism on video games and their legitimacy as a creative/entertainment medium, by showcasing the benefits and debunking instigated stereotypes with the games’ story-rich narrative.

Made available in DSpace on 2016-04-26T18:10:14Z (GMT). No. of bitstreams: 1 Walmeri Kellen Ribeiro.pdf: 2539053 bytes, checksum: ae6e1e31aa235bb7beff2c548f1be720 (MD5) Previous issue date: 2010-10-25 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Considering the hypothesis that Brazilian audiovisual production presents, as a fundamental element of it"s creative process, the actor as a co-creator of the final audiovisual work, this thesis investigates the creation procedures which are the basis of this actor"s work, such as the unfoldings of this co-creation relation. Using the analysis of creation processes of the films Bicho de Sete Cabeças (Brainstorm), Cidade de Deus (City of god), Lavoura Arcaica (To the Left of the Father), Contra Todos (Up against them all), Céu de Suely (Love for Sale), Crime Delicado (Delicate Crime) and of the miniseries Pedra do Reino and Capitu, and having the Critica de Processo (Process critics), proposed by Cecília Almeida Salles (2006) as a basis, this study sees the creation laboratory as a locus of investigation, experimentation and emergence in audiovisual work, in which the improvisation practice is configured as a procedure to be used in the search of creative and aesthetic possibilities. With this assumption, by proposing a dialog between audiovisual studies (Machado, Burch and Aumont), studies of the actor (Artaud, Grotówski, Stanislávski, Barba and Burnier) and of the contemporary scenic production (Cohen, Zumthor, Fischer-Lichte, Lehmann), we"ll point out some unfoldings and displacements in tradicional cinematographic praxis. As a result of these procedures, a transformation finds its course, in the modes of audiovisual production, approaching those with modes of contemporary scene creation. Aiming the comprehension of the audiovisual object"s meaning regimes own comunication processes, the theoretical reference of this research is established upon theory connections between many knowledge fields, audiovisual theories, actor and scenic creation studies, as mentioned above, the process of creating in a net (Salles), and the theories about corpomídia (or mediabody , by Greiner, Katz), co-creation and complexity (Morin), emergence (Johnson), fluidity and mobility (Bauman) / Percorrendo a hipótese de que a produção audiovisual brasileira contemporânea, apresenta como elemento fundamental de seu processo criativo o ator como co-criador da obra, esta tese investiga os procedimentos de criação que alicerçam o trabalho deste ator, bem como os desdobramentos desta relação de co-criação. Partindo da análise dos processos de criação dos filmes Bicho de Sete Cabeças, Cidade de Deus, Lavoura Arcaica, Contra Todos, Céu de Suely, Crime Delicado e das minisséries Pedra do Reino e Capitu e fundamentada pela Critica de Processo, conforme proposto por Cecília Almeida Salles (2006), esta pesquisa, aponta o laboratório de criação como lócus de investigação, experimentação e emergência da obra audiovisual, no qual a prática improvisacional configura-se como um procedimento empregado na busca de possibilidades criativas e estéticas. Com esta afirmação, ao propor um diálogo entre os estudos do audiovisual (Machado, Burch e Aumont), do ator (Artaud, Grotówski, Stanislávski, Barba e Burnier) e da produção cênica na contemporaneidade (Cohen, Zumthor, Fischer-Lichte, Lehmann), pontuamos alguns desdobramentos e deslocamentos na tradicional práxis cinematográfica. Como resultado destes procedimentos acontece uma transformação nos modos de produção audiovisual, aproximando-os dos modos de criação cênicos contemporâneos. Visando a compreensão dos processos comunicacionais próprios aos regimes de sentido do objeto audiovisual, o referencial teórico desta pesquisa é estabelecido a partir de conexões teóricas entre diversas áreas do conhecimento, das teorias do audiovisual, do ator e da criação cênica, conforme apontados acima, ao processo de criação em rede (Salles), a teoria do corpomídia (Greiner, Katz), da co-criação e complexidade (Morin), da emergência (Jonhson) e da fluidez e mobilidade (Bauman)

This research investigates the potential of the general public to actively design their own products and let consumers either manufacture by themselves or send the files to manufacturers to be produced. This approach anticipates the rapid growth of fabrication technology, particularly in Additive Manufacturing (AM)/3D printing. Recent developments in the field of AM/3D printing have led to renewed interest in how to manufacture customised products and in a way that will allow consumers to create bespoke products more easily. These technologies can enhance the understanding of non-technology compliant consumers and bring the manufacturing process closer to them. Consequently, to make AM/3D printing more accessible and easier to employ by the general public, design aspects need to be developed to be as simple to operate in the same manner as AM/3D printing technologies. These technologies will then attract consumers who want to produce Do-It-Yourself (DIY) products. This study suggests a Computer-aided Consumer Design (CaCODE) system as user- friendly design software to simplify the Computer Aided Design (CAD) stages that are required to produce 3D model data required by the AM/3D printing process. This software will be an easy-to-operate design system where consumers interact with parameters of designed forms easily instead of operating conventional CAD. In addition, this research investigates the current capabilities of AM/3D printing technologies in producing consumer products. To uncover the potential of consumer-led design and manufacturing, CaCODE has been developed for consumer evaluation, which is needed to measure the appropriateness of the tool. In addition, a range of consumer product samples as pens has been built using a range of different materials, AM/3D printing technologies and additional post-processing methods. This was undertaken to evaluate consumer acceptance of the AM/3D printed product based on products perceived quality. Forty non-designer participants, 50% male and 50% female, from 5 to 64 years old, 6-7 participants per ten-year age groups in 6 groups, were recruited. The results indicated that 75% of the participants would like to design their own product using consumer design software. The study compared how consumers interacted with the 3D model to manipulate the shape by using two methods: indirect manipulation (sliders) and direct manipulation (drag points). The majority of the participants would prefer to use the direct manipulation because they felt it was easy to use and enabled them to enjoy the design process. The study concluded that the direct manipulation was more acceptable because it enabled users to touch the digital product and manipulate it, making it more intuitive and natural. The research finds that there is a potential for consumers to design a product using user-friendly design tools. Using these findings, a consumer design tool concept was created for future development. The study indicated that 53% of participants would like to use products made by AM/3D printing although they still wanted the surface finish of injection moulded parts. However, the AM/3D printing has advantages that can fulfil the participants preference such as multi-materials from the material jetting method and it is proved that additional post-processing can increase participants acceptance level.

Submitted by Fabricia Fialho Reginato (fabriciar) on 2015-07-22T23:06:10Z No. of bitstreams: 1 FlavioBrambillaAdm.pdf: 1877397 bytes, checksum: 24dd94e8a02b59726d9ea5487b5c9646 (MD5) / Made available in DSpace on 2015-07-22T23:06:10Z (GMT). No. of bitstreams: 1 FlavioBrambillaAdm.pdf: 1877397 bytes, checksum: 24dd94e8a02b59726d9ea5487b5c9646 (MD5) Previous issue date: 2010-12-23 / Nenhuma / A co-criação de valor é uma prática imperativa no ambiente do serviço. Em certos casos é uma condição de qualidade, mas em outros, imprescindível, como ocorre na educação. Entender a educação como um encontro de serviço não significa reduzir a importância desta atividade, mas sim qualificar suas práticas dentro de parâmetros conhecidos e qualidade pré- determinada. A Educação Superior Privada domina o panorama brasileiro, com números acima do patamar de 80% dos futuros profissionais, dos quais os de negócios aparecem como a maior categoria de discentes formados todos os anos. Diferenciar a mercantilização da educação de uma educação conduzida dentro da lógica do serviço é pertinente, visto que no entendimento deste estudo, os parâmetros educacionais históricos são carregados do viés ideológico, que pode ser substituído por métricas de qualidade isentas de ideologia, trocando esta por parâmetros concretos, com vistas à maior qualidade de conteúdo possível. Com base na Teoria da Autodeterminação e motivação acadêmica dos alunos de graduação, o estudo busca identificar o ponto crucial do ensino privado no qual o estudante como consumidor é direcionado a uma realidade mais próxima da ideal para aprendizagem, que é uma face híbrida desta prerrogativa, na qual o estudante é um co-produtor no locus educacional. Por intervenção de Etnometodologia, através da aplicação da técnica de Vignettes para estudantes do ensino superior privado, identificou-se como a co-criação de valor se adapta ao setor de ensino. Os resultados destacam especialmente o papel da autodeterminação como elemento central para co-criação, através da motivação intrínseca (desejo de aprender) em sua tênue relação com motivação extrínseca (avaliação). Identifica-se também que os estudantes podem ou não estar predispostos à co-criar, o que se manifesta em três comportamentos (os que desejam interação, os que não interagem por falta de estímulo, e aqueles que não gostam do trabalho coletivo). O entendimento dos estudantes sobre valor é limitado em utilitariedade. / The co-creation of value is an imperative practice in the atmosphere of service. In certain cases, a superior quality condition, but in other, indispensable, as it happens in the education. Understand the education as a service encounter doesn't mean reduce the importance of that activity; means increase the quality of practices through evident parameters and previous guaranteed quality. The Private Higher Education dominates the Brazilian scenario, with numbers above the 80% of the future professional forges; the majorities are business students, which appear as the bigest category of graduated students per year. Differentiate the education saled of an education matched inside the service logic is pertinent, because in the understanding of this study, the traditional educational parameters are loaded by the ideological inclination, that could be changed for quality metrics that extrapolate simple ideology, changing that practice for concrete parameters based in the increasing of the academic quality content. Based on Self-Determination Theory and academic motivation of undergraduate students, this research aims the identification of the focal point in private education where the students as consumers are drived to a better learning experience, a hybrid prerogative, in that the student is understood as a co-producer in educational locus. Through Ethnomethodological intervention, based in the Vignettes technic applied to private higher education students, the co-creation of value was identified as an adequate practice. The results specially identify the importance of the self-determination as a central element in co-creation, stimulated by intrinsic motivation (the wish to learn) and the thin relation with extrinsic motivation (evaluation). This study identifies that the co-creation is not always well undertood by students, and they expressed at least three types of behavior (wish to co-create, the non interactive behavior because is not a commom practice, and the preference to not work collectively). The students understanding about the concept of value is limited to utility.

「易經」是中國哲學中重要的經典。「易經」的內容蘊含豐富的智慧，後代多位學者也用畢生的心血去研究。宋代程頤與朱熹更是透過對「易經」的詮解，發揮了自己的想法。本論文希望透過研究程頤與朱熹兩人註解「易經」之異同，瞭解二人對於天人關係的看法，並且從中創造出新的見解。論文規劃總共九章，包括了第一章緒論和最後一章的結語。 第一章緒論主要說明研究動機與目的，前人研究成果，以及文獻探討、學者專著介紹。第二章「理學易中的天人一本論」則說明程朱的時代背景、師承關係。程頤和朱熹的理學可能直接來自於張載與邵雍的啟發，以及「誠」的繼承。第三章及第四章分別討論「伊川的理學及易學」以及「朱熹的理學及易學」，說明二人之理學及易學重點與重要的概念。伊川由理氣區別「形而上」和「形而下」兩個概念，這兩個概念是出自於《易傳》＜繫辭上＞：「形而上謂之道，形而下謂之器」。朱熹主要是由「理」與「氣」的關係說明，在程朱思想體系中，「理」乃是「道」，是形而上的；「器」是「形而下」各別具體的事物。第五章「易學脈絡下的天道觀」主要探討《易》的本體論天道觀、宇宙論。並從自然化的「天」有其規律，而瞭解其中之「理」，從「天」到「天理」，從「天理」到「理一分殊」(universality and particularity)。第六章「宋代理學與易學交錯脈絡下的朱熹仁說」主要探討外在的「理」Li，落實到「人」的身上，從易傳的「生生之德」(The Moral of Creative Creativity)到程朱的「仁者天地生物之心」(Benevolence is the Heart of the Heaven and the Earth to Produce)、「格物致知」(“The extension of knowledge through the investigation of things”, and “the attentiveness of the mind”)。程頤的工夫論是透過「涵養需用敬，進學在致知」(In cultivation one needs attentiveness；in the advancement of learning, one needs the extension of knowledge.)的方法，按照程朱學派的看法，「格物」是為了從有形之物中體認超越的「理」。由「格物」以「窮理」達到天人關係之廣大悉備之和諧（All-comprehensive Harmony）。第七章、第八章則從多元的觀點，將程朱易之天人關係以現代的方式詮釋，第七章探討程朱在「人生哲學」的異同，包括個人的修身、內聖以及家庭等層面。第八章討論程朱易在社會群體上的異同。包含政治層面、經濟層面以及教育層面等，以及第九章的結論。 / Among all Chinese philosophical works, I-Ching is one of the most important classics. It is not only abundant in wisdom, but has also inspired many scholars to devote their lives to researching into it. Two of such scholars are Ch’eng Yi and Zhu Xi in the Sung Dynasty, who based their theories on and developed their philosophical thoughts by a thorough interpretation of I-Ching. This dissertation intends to create a new insight into I-Ching by first exploring the similarities and differences between Ch’eng Yi ’s and Zhu Xi’s interpretations of I-Ching, and then delving into the two scholars’ comprehension of the relationship between the cosmos and humanity. This dissertation is divided into nine chapters, including the introduction and the conclusion. The first chapter, The Introduction, elucidates the motivation and purpose of this research, examines the research results of the antecedent scholars, explores related literatures, and provides an introduction of some predominant scholars as well as their works. Chapter Two, Haven amd men in union of I-ching of New-Confucianism, illuminates the background of Ch’eng and Zhu’s era as well as their mentor-follower relationship.The immediate stimulus for Ch’eng Yi and Zhu Xi, however, seems to be the thought of Chang Tasi and Shao Yung. To discuss Sence of truthfulness(誠). Chapter Three and Four respectively elaborate on ” Ch’eng Yi I-CHING exegesis and the formation of Neo-Confucianism” and ” Zhu Xi I-CHING exegesis and the formation of Neo-Confucianism,” illustrating the two scholars’ dominant ideas and important concepts on Neo-Confucianism and Book of Changes. Ch’eng Yi distinguishes between what is “within shapes” and what is “above shapes”. The origin of these two terms is traceable to “Appendix III ” of the Book of Changes: “ What is above shapes is called the Tao；what is within shapes us calledthe implements.” Zhu Xi maintained that all things are brought into being by the union of two universal aspects of reality: Chi（氣）, sometimes translated as vital (or physical, material) force; and Li(理), sometimes translated as rational principle (or law).In the system of Ch’eng Yi and Zhu Xi, this distinction corresponds to that between the abstract and concreat in Western philosophy. The Li and Tao which is “above shapes,” or, as we say, abstract；while the “implements,” by which Ch’eng Yi and Zhu Xi mean particular things, are “within shapes,” or, as we would say, concrete. Chapter Five, TianTao (Inner Roots of ordering the world ) of I-ching, mainly expounds I-Ching’s Ontology and Cosmology, with a purpose of attaining a comprehension of Li through realizing the regularity of natural, and then moves further to understand T’ien Li（the natural law）from T’ien (heaven)，and universality and particularity from T’ien Li（the natural law）. Chapter Six, Song Dynasty I-Ching exegesis of Jen(humanity) of Ch’eng- Zhu school of Neo-Confucianism, mainly explicates the way people put the theory of “Li” into practice, mainly through a comprehensive understanding of the following concepts: The Moral of Creative Creativity, Ch’eng and Zhu’s philosophy of “Benevolence Is the heart of the Heaven and the Earth to Produce,” and “The extension of knowledge through the investigation of things”, and “the attentiveness of the mind”. Ch’eng Yi ‘s method of spiritual cultivation is expressed in his famous statement : “In cultivation one needs attentiveness；in the advancement of learning, one needs the extension of knowledge. ” According to the Ch’eng –Zhu school, the purpose of the “investigation of things” is to extend our knowledge of the eternal Li. Li are abstract and things are concrete. We investigate the abstract through the concrete. What we as a result come to see lies both within the eternal world and within our own nature. The more we know Li, the more our nature, ordinarily concealed by our physical endowment, become visible to us to All-comprehensive Harmony. Both Chapter Seven and Eight interpret Ch’eng’s and Zhu’s concepts of the relationship between the cosmos and humanity from modern and multiple perspectives. To be more specific, Chapter Seven elucidates the similarities and differences between the above-mentioned two scholars’ “philosophy of life,” including their speculation on a person’s self-discipline, inner sage and the aspects of family. Being sage inside and being kingly outside " is the centralized embodiment of the confucian ideal personality . its " connotation consists of high perfection of individual inner morality and achievements of administering the state well and ensuring national security as a result.Chapter Eight, on the other hand, discusses the two scholars’ similar and different arguments on communities, inclusive of political, economical and educational aspects. Lastly, Chapter Nine, the final chapter of this dissertation, offers a conclusion to this dissertation.

This dissertation, titled Interactive Music Composition, is a practice based Ph.D. thesis in the field of Musicology. The purpose is to explore if and how one can compose computer based interactive music, that is musically satisfying for an interacting audience, consisting of both laymen and skilled musicians. The text describes the design and reflection in two interactive music installations: Do-Be-DJ, open-air installation in a public park, and, Mufi, with modular and moveable interface. Based on methods and per­spectives in Musicology and Interaction Design, a composition model for interactive music is developed. The model investigates the experience di­mensions listen, explore, compose and collaborate. It also investigates the design dimensions of interaction, narrative structure, composition rule and sound node. The conceptual approach is to apply improvisation and composition methods from jazz, pop and groove based music on interactive music. It also uses the concepts of openess in musical structures and interpretation, musical mediation of actions and meaning and everyday use of music, when composing interactive music. The dissertation contributes to an understanding of how to create composition techniques for interactive music, such as: Direct, varied and shifting response. It reflects on the change in meaning of the musicological terms composition, improvisation, musical work, listener, musician and audience. And on the interaction design terms interaction, gameplay, system and user. The term co-creator is used to describe an actively, interacting and collaborating person, to complement traditional terms like audience, performer and user. / <p>Ljudfiler till avhandlingens bilaga 1, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Do-Be-DJ, Interaktiv installation, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Mufi I och II, Interaktiv installation, http://musicalfieldsforever.com/mufi_more.html; Doktorandtjänsten finansierades av Interactive Institute; Musikinspelning finansierades av Framtidens Kultur genom Skiften på Malmö högskola</p> / Interaktiv musikkomposition / Interactive Music Composition / Interaktiv ljuddesign / Interactive Sound Design / Musik och Hälsa / Music and Health