L’émergence du nouveau concept de l’économie créative, qui constitue désormais une part importante dans les flux d’échanges commerciaux à l’échelle internationale, a profité à de nombreux pays de tous les niveaux économiques. L’essor des industries créatives a fortement influencé la production par la formation de clusters de compétitivité. Cette situation se révèle être favorable au développement et à la diversification des biens et des services créatifs notamment pour les petites et moyennes entreprises. L’économie créative peut être expliquée par les théories de la spécialisation internationale en particulier du point de vue des échanges de services et du tourisme. Ainsi, le développement des industries créatives constitue une véritable opportunité de spécialisation internationale touristique basée sur un processus d’innovation culturelle et soutenue par une transformation de la demande touristique. Cette innovation, fondée sur la créativité, engendre une forte valeur ajoutée pour les biens et les services créatifs, ainsi que des avantages absolus qui ouvrent une nouvelle voie de développement pour les pays les moins avancés, pour conquérir les marchés d’exportation et réduire la pauvreté. / The emergence of the new concept of the creative economy, which is now an important part of international trade flows, has benefited countries of all economic levels. The rise of creative industries has strongly influenced production through the formation of competitiveness clusters. This situation is proving to be conducive to the development and diversification of creative goods and services, particularly for small and medium firms. The creative economy can be explained by theories of international specialization in particular from the point of view of services trade and tourism. Thus, the development of these creative industries constitutes a genuine opportunity for international tourism specialization based on a process of cultural innovation and sustained by a transformation of tourism demand. This innovation, based on creativity, creates high added value for creative goods and services as well as absolute advantages, which opens up a new development path for the least developed countries to conquer export markets and reduce poverty.

Submitted by Maicon Juliano Schmidt (maicons) on 2015-05-29T17:29:00Z No. of bitstreams: 1 Luiza Mara Mattiello Rossetto.pdf: 7890077 bytes, checksum: d50f6845f991bda932cd42f65b72ede3 (MD5) / Made available in DSpace on 2015-05-29T17:29:00Z (GMT). No. of bitstreams: 1 Luiza Mara Mattiello Rossetto.pdf: 7890077 bytes, checksum: d50f6845f991bda932cd42f65b72ede3 (MD5) Previous issue date: 2013-01-31 / Nenhuma / Esta pesquisa procura relacionar o Design com Comunidades de Prática. Comunidades de Prática são grupos espontâneos que se reúnem entorno de um objetivo em comum com ou sem objetivos comerciais (BETTIOL et al, 2011) como, por exemplo, um grupo de amigos que se encontra para trocar ideias sobre algo que agrada ou incomoda a todos. Criam-se comunidade entorno de áreas propícias pra desenvolver projetos, porém fora das estruturas de organizações tradicionais. As dificuldades enfrentadas por esses grupos muitas vezes não são resolvidas de maneira satisfatória por não utilizarem métodos ou alguma forma sistematizada de chegar às soluções. O Design, como disciplina, tenta auxiliar na solução de problemas e pode ter seus métodos deslocados para as necessidades sociais. Nesta pesquisa, utilizamos o conceito de Design Estratégico e sua abordagem metodológica como uma forma de resolver problemas deste tipo. Neste trabalho, foi realizada uma pesquisa exploratória com o objetivo de identificar e analisar uma Comunidade de Prática em rede, no caso, de ciclistas da cidade de Porto Alegre, e entender de que forma pode-se propor cenários de Design Estratégico para ajudá-la a alcançar seus objetivos. Trata-se de um grupo formado por pessoas de idades variadas que tem a bicicleta como meio de transporte alternativo em comum. Este grupo busca discutir como incluir essa forma de mobilidade de maneira igualitária e, assim, ser respeitado no tráfego diário, conquistando seu espaço. Com essa finalidade, utilizou-se um método de projeto do Design Estratégico adaptado a elementos próximos do dia a dia das pessoas, desenhando-se um processo mais acessível. Sua aplicação junto a uma Comunidade de Prática implica na atuação do designer como um mediador (CELASCHI, 2008) que tenta conciliar as ideias geradas, sintetizando-as e criando especulações de respostas. Mais do que um método fechado, imagina-se um conjunto de ferramentas adaptáveis às necessidades frente a cada resolução de problema (CELASCHI, 2007). Neste processo ocorre a aprendizagem através da reflexão na ação (SCHÖN, 2000) a qual é enriquecida pela troca de experiência dos participantes. Por isso, o processo multidisciplinar e transdisciplinar de busca de informações para a inovação é essencial e encontrado frequentemente nas Comunidades de Prática. Foi realizado um exercício projetual com algumas pessoas pertencentes a este grupo. Foi gerado um conjunto de dados que foram analisados com o objetivo de apontar indícios de como o método estudado deve ser adaptado à situação da Comunidade. Neste exercício, foram apresentadas e exercitadas as habilidades criativas a partir de vídeos e impressos com instruções sobre as ferramentas da metodologia. Depois, analisou-se o processo, o papel dos atores e o aprendizado, bem como as dificuldades encontradas. As respostas obtidas ajudaram a propor correções metodológicas relacionadas à melhor compreensão da aplicação das ferramentas para obter resultados mais satisfatórios. / This research seeks to relate Design to Communities of Practice. Communities of Practice are spontaneous groups who gather around a common purpose with or without commercial objectives (BETTIOL et al, 2011), for example, a group of friends who meet to exchange ideas on something that pleases or annoys everyone. Those are created around areas proned to develop projects, but outside the structures of traditional organizations. The difficulties faced by these groups are often not satisfactorily solved because of using no methods or systematic way of getting to the solutions. The Design as a discipline attempts to assist in troubleshooting and its methods may have shifted from industry to social needs. In this research, we use the Concept of Strategic Design and its methodological approach as a way to solve such problems. To check if this is possible or not, we developed an exploratory research with the goal to identify and analyze a Community of Practice network, in this case, of cyclists in Porto Alegre, and understand how you can propose Strategic Design scenarios to help them achieve their goals. It is a group of people of varying ages that has the bicycle as a means of alternative transportation in common. This group discusses how to include this form of mobility equitably and thus be respected in everyday traffic, conquering its space. For this purpose, the Design method was synthesized in elements around everyday peoples life, drawing up a methodological process more accessible. Its application along with a Community of Practice implies the role of designer as a mediator (CELASCHI, 2008) which attempts to reconcile the ideas generated, synthesizing and creating speculation responses. More than a closed method, it was imagined as a set of tools adaptable to the needs facing every problem solving (CELASCHI, 2007). In this process learning occurs through reflection in action (SCHON, 2000), which is enriched by the exchange of experience of the participants. Therefore, the process of transdisciplinary and multidisciplinary information in search for innovation is essential and often found in Communities of Practice. It was performed a projectual exercise applying the synthetic methodology with a test group. It was generated a set of data that were analyzed with the aim of pointing indications of how the studied method should be adapted to the situation of the Community of Practice. In this exercise were presented and exercised creative skills from videos and printed instructions on the tools of the methodology. After the process, we analyzed the process, the role of actors and learning, as well as the difficulties encountered. The answers helped propose fixes related to methodological understanding of the application of the tools to get better results.

Submitted by Maicon Juliano Schmidt (maicons) on 2015-06-11T18:42:49Z No. of bitstreams: 1 Anerose Perini.pdf: 2106515 bytes, checksum: 00096704d0c9aa1c780f4785d08ab497 (MD5) / Made available in DSpace on 2015-06-11T18:42:49Z (GMT). No. of bitstreams: 1 Anerose Perini.pdf: 2106515 bytes, checksum: 00096704d0c9aa1c780f4785d08ab497 (MD5) Previous issue date: 2015-03-30 / Nenhuma / Este trabalho parte da premissa de que o design pode incorporar iniciativas sustentáveis para colaborar com inovações sociais e, por inserir-se em tal eixo de pesquisa, trará a problemática da mobilidade urbana na cidade de Porto Alegre. Ao focalizar o Design Estratégico e suas contribuições para organizações que atuam no âmbito do transporte sustentável de tração humana, a presente pesquisa tem como objeto de estudo iniciativas urbanas de organizações horizontais - associações e grupos autorais - para a cidade anteriormente mencionada. Sendo assim, o recorte teórico delineia-se dentro do escopo do Design Estratégico na perspectiva da inovação social e cultural. Esta pesquisa possui caráter qualitativo e parte da abordagem exploratória, com o objetivo geral de compreender ações e práticas relacionadas às organizações horizontais que disseminam a cultura da mobilidade urbana sustentável em Porto Alegre a partir do ciclismo e da ressignificação da bicicleta no perímetro urbano central. O Design Estratégico é abordado aqui como principal viés, que levará a reflexões fundamentais sobre a sociedade contemporânea no que diz respeito à cultura da sustentabilidade. Para isso, são desenvolvidas entrevistas semiestruturadas que possibilitam, por meio da interpretação dos discursos dos respondentes, criar cenários futuros para as ações estratégicas das organizações entre 10 e 20 anos. / This study starts from the premise that design can incorporate sustainable initiatives to collaborate with social innovations, and due to its insertion in such research, will reflect the issue of urban mobility in the city of Porto Alegre. By focusing on the Strategic Design and its contributions to organizations that work in the field of human-powered sustainable transport, this research has the object of study urban initiatives of horizontal organizations - associations and authorial groups - to the city previously mentioned. Thus, the theoretical framework is outlined within the scope of the Strategic Design from the perspective of Social and Cultural Innovation. This research has qualitative character, was developed from an exploratory approach and its main goal was to understand the actions and practices related to horizontal organizations that disseminate the culture of sustainable urban mobility in Porto Alegre by cycling and the resignification of the use of bikes within its central urban area. The Strategic Design is treated here as the main bias that will lead to fundamental reflections on contemporary society with regard to the culture of sustainability. For this, semi-structured interviews are developed allowing through the interpretation of speeches of respondents, the creation of future scenarios for the strategic actions of organizations from 10 to 20 years.

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La consommation collaborative désigne un ensemble de pratiques très variées – parmi lesquelles la location, le prêt, le don, le troc ou le partage entre consommateurs –, qui remettent en question la primauté accordée à la propriété individuelle. Ce phénomène en plein essor fait l’objet de nombreuses recherches tentant de définir, de cartographier ou d’expliquer le phénomène, en identifiant ses déterminants ou en évaluant ses impacts. Peu de travaux se sont penchés sur l’arrière-plan culturel de ce mouvement. C’est l’objet de ce travail, qui étudie la consommation collaborative dans une perspective anthropologique, autour de la question, centrale, du rapport à la propriété. Cette recherche, ancrée dans la Consumer Culture Theory (CCT), adopte une approche phénoménologique centrée sur le sens des expériences vécues par les consommateurs. Elle s’appuie au plan empirique sur une ethnographie menée sur trois terrains reflétant la diversité des pratiques collaboratives – l’habitat participatif, la plaisance collaborative et les bibliothèques de vêtements. Et elle a pour première assise théorique la mobilisation d’un cadre d’analyse original – l’infrastructure cosmologique –, inspiré des travaux de Stoczkowski (2008), qui permet de révéler les traits saillants d’une vision du monde. Les résultats mettent en lumière l’émergence, au sein d’un mouvement qui reste largement consumériste, d’une contre-culture, proche de la simplicité volontaire, caractérisée par un rapport nouveau à la propriété, dans laquelle celle-ci n’est pas simplement remplacée par l’usage mais se charge d’un sens différent. Nous l’avons nommée « cosmologie de l’alter-possession ». Cette recherche permet de mieux comprendre les comportements de consommateurs qui entretiennent un rapport ambivalent aux possessions, entre détachement et recherche de liens durables, et aspirent à des formes de propriété plus ouvertes et plus collectives en réponse aux enjeux sociaux et environnementaux d’un monde aux ressources finies. / Collaborative consumption refers to a highly varied range of practices – including rentals, loans, gifts, bartering and sharing between consumers – that challenge the primacy of individual ownership. This rapidly growing phenomenon has been the subject of many research studies that have attempted to define, map or explain it by identifying its determinants or evaluating its impact. Few researchers have focused on the cultural background to this movement. That is the focus of this study, which studies collaborative consumption from an anthropological perspective, looking at the central question of our relationship with ownership. This research, rooted in Consumer Culture Theory (CCT), adopts a phenomenological approach centred on the meaning of consumer experiences. In empirical terms, it uses an ethnographic study conducted in three different fields that reflect the diversity of collaborative practices: co-housing, collaborative pleasure boating and clothes libraries. Its main theoretical foundation is the use of an original analytical framework – cosmological infrastructure, inspired by the work of Stosczkowski (2008) – which highlights the salient traits of a particular worldview. The results reveal the emergence, within a movement that remains largely consumeristic, of a counterculture that is comparable to voluntary simplicity and characterised by a new relationship with ownership, which, for proponents of this counterculture, is not only replaced by the notion of usage but is also charged with different meaning. We call this the “cosmology of alter-possession”. This research provides a better understanding of the behaviour of consumers who maintain an ambivalent relationship with possessions, somewhere between detachment and the search for lasting links, and aspire to more open and collective forms of ownership in response to the social and environmental challenges in a world with finite resources.