L'étude des phénomènes sociaux actuels passe nécessairement par la reconnaissance du rôle de la technologie électronique dans l'ensemble des pratiques sociales. L'on parle, par exemple, d'une révolution culturelle pour montrer l'impact de la technologie numérique dans la vie quotidienne, mais quelles sont-elles vraiment les transformations qu'amène cette technologie à la socialité ? Les formes de vivre ensemble se sont transformées pour l'utilisation de la technologie numérique ? Voici les questions qu'on discute dans ce travail. Dans l'étude que nous présentons, l'on interprète ces transformations culturelles à partir d'un regard intime de l'expérience numérique. Dès notre filiation à la pensée maffesolienne, l'on fait une revendication du rapprochement esthétique pour l'étude sociologique, tout d'abord, car les motifs rationnels sont loin de montrer la richesse du lien social ; ensuite, parce que l'auteur a bien montré la puissance de l'interprétation autour au quotidien, à l'espace, aux formes sociétales. Enfin, puisque seulement dans la douceur de l'image était possible une compréhension de la socialité contemporaine. Pour conclure, on présente les tendances sociétales qui montrent cela que l'on appelle « l'e-rationalité postmoderne » qui n'est autre que l'articulation de l'être ensemble électronique attachée aux valeurs postmodernes. / The study of the current social phenomena inevitably goes through the acknowledgement of the role of electronic technology in social practices as a whole. We speak, for example, about a cultural revolution to emphasize the impact of digital technology in everyday life, but which are the transformations that this technology brings to the sociality? The ways we live together are transformed by the use of the digital technology? These are the questions which we discuss in this work. In the study we present, these cultural transformations are interpreted from an intimate look to the digital experience. From our affiliation to the thoughts of Michel Maffesoli, we vindicate an aesthetic approach to sociological studies; first of all, because rational motives are far from showing the richness of the social link; and then, because Maffesoli ('the author' serías tú) has clearly showed its power of interpretation of daily life, the space and societal forms. Finally, because it is only in the sweetness of the image that is possible to comprehend contemporary sociality. To conclude, we present the societal trends which demonstrate what we call "the postmodern e-rationality" which is no other than the articulation of an electronic being together, attached to the postmodern values.

Esta dissertação aborda as transformações que a tecnologia digital está operando sobre aquilo que um dia chamaram corpo. Nossa atual capacidade de perceber, interagir e intervir em múltiplos espaços sem nos deslocarmos fisicamente revela que já ingressamos coletivamente em uma nova condição da experiência corporal nas redes digitais. Isto é, a crescente participação das tecnologias mecânicas, elétricas e digitais no nosso cotidiano inaugurou sensações e assim transformou o estatuto e as condições do corpo, instaurando o que chamaremos corporalidades reticulares. Nesta perspectiva, os dualismos que arregimentaram a modernidade (mente/corpo, animal/humano, público/privado, natureza/cultura) são depostos, anunciando uma época em que não há mais aquele abismo ontológico que separou o humano da tecnologia. Deste modo, o objetivo desta dissertação é discutir o estatuto e a condição do corpo na época das redes digitais para abrir nossa percepção para uma realidade insuficientemente compreendida pela palavra corpo. Por isso, a justificativa desta pesquisa se dá pela urgência em compreendermos de que maneira a tecnologia digital está criando, retificando ou ressaltando atributos corporais anteriores e contemporâneos ao advento da comunicação digital em rede. Para tanto, a indisciplina própria ao corpo foi aqui utilizada como metodologia de pesquisa, atravessando irresponsavelmente diversos campos das ciências humanas, na tentativa de contemplar conceitualmente a complexidade de um assunto inapreensível enquanto \"objeto de pesquisa\". Analisando as ambiências digitais e o chamado \"sexo virtual\", concluiremos que àquele corpo natural, individual e sensível aos estímulos orgânicos do seu entorno, impõe-se agora um corporalidade reticular, sem centro nem periferia, capaz de sentir a miríade de estímulos transorgânicos, semióticos e sintéticos que a atravessam no contexto digital e fora dele. / This dissertation adresses the transformation digital technology is operating on all of that they one day called body. Our current capacity to perceive, interact and intervene in multiple spaces without having to physically move reveals we have collectively joined into a brand-new body experience condition through the digital networks. What I mean is that the increasing participation of mechanical, electric and digital technologies in our daily lives launched some sensations, thus transforming body constitution and its conditions, creating what we will be calling reticulate corporality. Into this perspective, the dualities that have regimented modernity (mind/body, animal/human, public/private, nature/culture) are deposed, in the announce of a period in which the ontological chasm between human and technology no more exists. That said, this dissertation aims the discussion over the body constitution and its conditions into the digital media era so we can expand our perception to a reality that is insufficiently comprised by the word body. That said, this research justifies itself due to the urgency to comprehend how digital technology is creating, rectifying or emphasizing body attributes that are prior and contemporary to the advent of the networking digital communication. Therefore, the indiscipline inherent to the body has been here used as a research methodology, recklessly intercepting several fields from the Human sciences, in an attempt to conceptually contemplate the complexity of an issue that is inapprehensible as a \"research object\". Through the analysis of the digital ambiences and the so-called \"virtual sex\", we will be able to conclude that the natural, individual and sensitive to surrounding organic stimulus body is now imposed a new reticulate corporality, with no center or periphery, able to feel the myriad of transorganic, semiotic and synthetic stimuli that cross it into and out of the digital context.

This thesis contributes to the fields of digital technology, consciousness studies and cultural theory by reassessing the relation of the contemporary subject to physical and digital worlds. By moving beyond the materiality of these worlds, this investigation will position the subject as a cyborg: a series of relations within consciousness that defines the reality and psychological construction of the subject across and through physical and digital perspectives. The functions of consciousness are set out as Existence, Meaning, Virtual, and Real, and their shifting relations defined in terms of physical and digital modes of consciousness. Using Slavoj Žižek's conception of parallax, applied ontologically to digital technology, and introducing a new framework for analysing consciousness as a series of relations between functions, the void of subjectivity is defined as the gap between physical and digital worlds. Within this framework the work of Gilles Deleuze and the philosophy of quantum physics are employed to negotiate a disruption of conventional reality with the Virtuality of thought and matter respectively, towards the conception of the subject as an engaged spectator. These methodological tools are developed to analyse cultural phenomena that highlight and challenge our consciousness of the relation between physical and digital worlds. Online and gallery-based digital art interventions, avatar-mediated spaces, computer games and representations of digital technology and culture in literature are examined in order to assess specific relations between functions, drawing the discussion towards the antagonism between Virtuality and Reality within the construction of the cyborg subject. Through these analyses, a critical position is established through which the contemporary subject is able to achieve the rupture of a minimal distance towards its own parallax position to confront the void of subjectivity between Virtual and Real functions of consciousness and between physical and digital modes of cyborg reality.

This thesis investigates the design of audio for feedback in human-technology interaction— auditory displays. Despite promising progress in research and the potential benefits, we currently see little impact of audio in everyday interfaces. Changing interaction paradigms, new contexts of use and inclusive design principles, however, increase the need for an efficient, non-visual means of conveying information. Motivated by these needs, this work describes the development and evaluation of a methodological design framework, aiming to enhance knowledge and skill transfer in auditory display design and to enable designers to build more efficient and compelling auditory solutions. The work starts by investigating the current practice in designing audio in the user interface. A survey amongst practitioners and researchers in the field and a literature study of research papers highlighted the need for a structured design approach. Building on these results, paco – pattern design in the context space has been developed, a framework providing methods to capture, apply and refine design knowledge through design patterns. A key element of paco, the context space, serves as the organising principle for patterns, artefacts and design problems and supports designers in conceptualising the design space. The evaluation of paco is the first comparative study of a design methodology in this area. Experts in auditory display design and novice designers participated in a series of experiments to determine the usefulness of the framework. The evaluation demonstrated that paco facilitates the transfer of design knowledge and skill between experts and novices as well as promoting reflection and recording of design rationale. Alongside these principle achievements, important insights have been gained about the design process which lay the foundations for future research into this subject area. This work contributes to the field of auditory display as it reflects on the current practice and proposes a means of supporting designers to communicate, reason about and build on each other’s work more efficiently. The broader field of human-computer interaction may also benefit from the availability of design guidance for exploiting the auditory modality to answer the challenges of future interaction design. Finally, with paco a generic methodology in the field of design patterns was proposed, potentially similarly beneficial to other designing disciplines.

The acoustic character of a space is often quantified using objective room acoustic parameters. The measurement of these parameters is difficult in occupied conditions and thus measurements are usually performed when the space is un-occupied. This is despite the knowledge that occupancy can impact significantly on the measured parameter value. Within this thesis new methods are developed by which naturalistic signals such as speech and music can be used to perform acoustic parameter measurement. Adoption of naturalistic signals enables passive measurement during orchestral performances and spoken announcements, thus facilitating easy in-situ measurement. Two methods are described within this work; (1) a method utilising artificial neural networks where a network is taught to recognise acoustic parameters from received, reverberated signals and (2) a method based on the maximum likelihood estimation of the decay curve of the room from which parameters are then calculated. (1) The development of the neural network method focuses on a new pre-processor for use with music signals. The pre-processor utilises a narrow band filter bank with centre frequencies chosen based on the equal temperament scale. The success of a machine learning method is linked to the quality of the training data and therefore realistic acoustic simulation algorithms were used to generate a large database of room impulse responses. Room models were defined with realistic randomly generated geometries and surface properties; these models were then used to predict the room impulse responses. (2) In the second approach, a statistical model of the decay of sound in a room was further developed. This model uses a maximum likelihood (ML) framework to yield a number of decay curve estimates from a received reverberant signal. The success of the method depends on a number of stages developed for the algorithm; (a) a pre-processor to select appropriate decay phases for estimation purposes, (b) a rigorous optimisation algorithm to ensure the correct maximum likelihood estimate is found and (c) a method to yield a single optimum decay curve estimate from which the parameters are calculated. The ANN and ML methods were tested using orchestral music and speech signals. The ANN method tended to perform well when estimating the early decay time (EDT), for speech and music signals the error was within the subjective difference limens. However, accuracy was reduced for the reverberation time (Rt) and other parameters. By contrast the ML method performed well for Rt with results for both speech and music within the difference limens for reasonable (<4s) reverberation time. In addition reasonable accuracy was found for EDT, Clarity (C80), Centre time (Ts) and Deutichkeit (D). The ML method is also capable of producing accurate estimates of the binaural parameters Early Lateral Energy Fraction (LEF) and the late lateral strength (LG). A number of real world measurements were carried out in concert halls where the ML accuracy was shown to be sufficient for most parameters. The ML method has the advantage over the ANN method due to its truly blind nature (the ANN method requires a period of learning and is therefore semi-blind). The ML method uses gaps of silence between notes or utterances, when these silence regions are not present the method does not produce an estimate. Accurate estimation requires a long recording (hours of music or many minutes of speech) to ensure that at least some silent regions are present. This thesis shows that, given a sufficiently long recording, accurate estimates of many acoustic parameters can be obtained directly from speech and music. Further extensions to the ML method detailed in this thesis combine the ML estimated decay curve with cepstral methods which detect the locations of early reflections. This improves the accuracy of many of the parameter estimates.

Submitted by Maicon Juliano Schmidt (maicons) on 2015-06-26T16:57:36Z No. of bitstreams: 1 Elizabete Rodrigues Sales.pdf: 1052787 bytes, checksum: 326c107da0f27fa8fed503dd6dd03154 (MD5) / Made available in DSpace on 2015-06-26T16:57:36Z (GMT). No. of bitstreams: 1 Elizabete Rodrigues Sales.pdf: 1052787 bytes, checksum: 326c107da0f27fa8fed503dd6dd03154 (MD5) Previous issue date: 2013-01-31 / IFPI - Instituto Federal de Educação Ciência e Tecnologia do Piauí / SETEC - Secretaria de Educação Profissional e Tecnológica / A investigação aborda as tecnologias digitais (TD), na relação com as demais tecnologias de informação e comunicação (TIC), configuradas como mediadoras das práticas pedagógicas dos professores no processo de ensino, e, a partir daí, suas implicações e efetividade de uso na escola em tempos contemporâneos. A pesquisa, com abordagem qualitativa, configura-se no âmbito do estudo de caso que busca captar as concepções dos sujeitos sobre as tecnologias digitais e as práticas pedagógicas. O campo empírico escolhido foi uma escola pública municipal do Piauí, cujos professores têm à sua disposição objetos técnicos como datashow, notebook e um laboratório de informática adquirido em 2002 através do Programa Nacional de Tecnologia Educacional (ProInfo) e acesso a internet através do Programa Banda Larga nas Escolas configurada em sistema de tecnologia WiFi(Wireless Fidelity). Os professores colaboradores da pesquisa foram selecionados previamente por meio de um questionário. Além da entrevista semiestruturada, a coleta de informações foi complementada por meio de observação no campo empírico, leituras de documentos, acesso ao banco de dados informatizados, sites, livros, trabalhos acadêmicos, artigos, dentre outros disponibilizados na web. O referencial teórico apoia-se nas contribuições de estudiosos contemporâneos como Adams (2010), Castells (2004), Demo (2002, 2007), Freire (1987, 1996), Lévy (1999), Lopes (2010, 2011), Moraes (2011), Moran (2004), Oliveira (1999, 2001), Santos (1994, 2006), Schlemmer (2011), Schwartz (2008), Tedesco (2004) e Valente (1999). O resultado da pesquisa demonstra que as tecnologias digitais estão presentes nas práticas pedagógicas dos professores, que, na sua maioria, as utiliza em atividades do processo de ensino. Porém, sua utilização resulta, na maioria das vezes, do esforço próprio dos professores, seja na prática com experiências individuas, seja em qualificação pelo Núcleo de Tecnologia de Teresina (NTHE). Os professores estão conscientes da urgência de apropriarem-se dessas inovações para adequarem-se ao novo perfil do aluno que demonstra habilidade no manuseio dessas tecnologias digitais presentes no cotidiano escolar. Conclui-se ainda que a Unidade de Ensino, o laboratório de informática criado para ser um espaço de promoção da inclusão digital, apresenta limites no sentido de atender plenamente aos objetivos propostos no Decreto nº 6.300, de 12 de dezembro de 2007, que dispõe sobre o ProInfo. / The research addresses the digital technologies (TD), in relation to other information and communication technologies (ICT), configured as mediators of the pedagogical practices of teachers in the teaching process, and, thereafter, its implications and effectiveness of use in school in contemporary times. The research, a qualitative approach, configures itself within the case study that aims to capture the views of the subject about digital technologies and pedagogical practices. The empirical field chosen was a municipal school of Piauí, whose teachers have at their disposal technical objects as data projector, notebook and a computer lab acquired in 2002 through the National Program of Educational Technology (ProInfo) and access the internet through the Band Program broadband in Schools set to WiFi technology system (Wireless Fidelity). Employees teachers in the study were previously selected by means of a questionnaire. Besides the semi-structured interview, the collection was supplemented by observation in the empirical field readings of documents, access to computerized data bank, websites, books, academic papers, articles, and others available on the web. The theoretical framework relies on the contributions of contemporary scholars like Adams (2010), Castells (2004), Demo (2002, 2007), Freire (1987, 1996), Levy (1999), Lopes (2010, 2011), Moraes (2011), Moran (2004), Oliveira (1999, 2001), Santos (1994, 2006), Schlemmer (2011), Schwartz (2008), Tedesco (2004) and Valente (1999). The research result shows that digital technologies are present in the pedagogical practices of teachers, who mostly uses them in activities of the teaching process. However, its use results in most cases, self-effort of teachers, are in practice with are single experiments, either in qualifying by the Center for Technology in Teresina (nthe). Teachers are aware of the urgent need to take ownership of these innovations to conform to the new profile of the student who demonstrates skill in handling these digital technologies in everyday school life. We can also conclude that the Teaching Unit, the computer lab designed to be a space to promote digital inclusion , has limits in order to fully meet the objectives proposed in Decree No. 6,300, of December 12, 2007, which provides for the ProInfo.

This thesis presents a series of design-led case studies concerned with the use of digital technology and the practice of interaction design for children within the context of UK special educational needs classrooms. It explores the use and development of accessible digital systems to support groups of students who have a range of special educational needs. Working with groups of mixed ability students has found to be the most typical situation for teaching in the participant schools and is a rich but underexplored area of concern for interaction design research. This thesis presents detailed accounts and grounded analysis of four embedded, design-led, case studies in two UK special needs schools. It makes three main contributions to the community of researchers, designers and educational practitioners who are concerned with the use of digital technology with children and more specifically working within the field of interaction design for children with special educational needs. These contributions are: A set of design guidelines developed through an analysis of the detailed and thorough accounts of four embedded design-led research projects in two special needs school in the UK. A discussion of the development of the research approach taken in this thesis. A set of design personas of teaching staff interaction designers are likely to encounter when working in a UK special needs school.

Social media is increasingly used for social protest, but does online participation advance the aims of social movements, or does it undermine efforts for social change? We explore this question in the present thesis by examining how the use of social media for collective action shapes, and is shaped by, the social psychological concerns of technology users. Adopting a diverse approach in terms of research questions and methodology, we examine how collective action is affected by: (1) features of the digital environment, (2) internet-enabled modes of participation, and (3) digitally-facilitated communities. Our findings demonstrate that group-level representations of the self and salient others are integral to the relationship between digital technology and collective action. Ultimately, we argue that digital technology can act as both a psychological bridge and barrier between disparate groups and issues; in this way it can both facilitate and undermine mobilisation efforts and broader aims for social change.

A pesquisa que fundamenta a presente dissertação tem como ponto de partida as percepções pessoais do autor sobre semelhanças no processo de criação em suas duas áreas de atuação: o design gráfico e o desenho artístico. Para investigar a existência de tais semelhanças, primeiramente procede-se a uma pesquisa teórica sobre essas áreas, numa breve abordagem histórica até seus modos de existir na pós-modernidade, com atenção especial ao papel transformador exercido pela tecnologia digital. São descritas algumas estratégias contemporâneas para a criação de imagens, no âmbito do design e das artes visuais, onde se identificam semelhanças estéticas em procedimentos envolvidos na criação de desenhos e peças gráficas. Com a finalidade de comprovar a existência de tais semelhanças e identificar sua origem, em um segundo momento, o processo pessoal de criação é analisado. Por fim, procede-se à análise dos depoimentos de profissionais também dedicados ao design gráfico e ao desenho como meio de expressão, onde se vêem modos diferentes de interação e percebem-se distanciamentos, transposições, colaborações e contribuições entre essas áreas. / This thesis is based on a research that has its starting point on the author's personal perceptions of similarities in the creative process in his two areas of work: graphic design and artistic drawing. To investigate the existence of such similarities, first a theoretical research is done on these areas, providing a brief historical approach up until their manners of existence in postmodernity, with special attention to the transformative role played by digital technology. Some contemporary strategies are described for the creation of images in design and visual arts, in which both aesthetic and procedural similarities are identified. Secondly, personal creation processes are analyzed in order to demonstrate the existence of such similarities and to identify their origin. Finally, an examination is done of the testimonies of professionals also dedicated to graphic design and drawing, in which different ways of interaction are seen, and distancing, transpositions, collaborations and cooperation between these areas are perceived.

Submitted by Gabriel Souza Gregorutti null (gabrielgregorutti@gmail.com) on 2017-02-06T14:34:08Z No. of bitstreams: 1 (GREGORUTTI, 2016).pdf: 2101594 bytes, checksum: 809d52870e163f355b465f196638d1ab (MD5) / Approved for entry into archive by LUIZA DE MENEZES ROMANETTO (luizamenezes@reitoria.unesp.br) on 2017-02-09T17:37:45Z (GMT) No. of bitstreams: 1 gregorutti_gs_me_rcla.pdf: 2101594 bytes, checksum: 809d52870e163f355b465f196638d1ab (MD5) / Made available in DSpace on 2017-02-09T17:37:45Z (GMT). No. of bitstreams: 1 gregorutti_gs_me_rcla.pdf: 2101594 bytes, checksum: 809d52870e163f355b465f196638d1ab (MD5) Previous issue date: 2016-12-16 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Esta pesquisa busca investigar aspectos sobre a imagem pública da Matemática (IPM) em um cenário no qual estudantes de graduação em Matemática estiveram engajados na produção de performances matemáticas digitais (PMDs), isto é, investigar o papel educacional das Artes e das tecnologias a respeito da visão que os licenciandos têm sobre a Matemática. A pergunta-diretriz foi: como ocorre o processo de construção de imagens sobre a Matemática em um cenário no qual futuros professores de Matemática produzem PMD? PMD se refere ao uso das Artes e das tecnologias digitais (TDs) em Educação Matemática, concebida enquanto linha de pesquisa, proposta didático-pedagógica ou narrativa matemática artística multimodal. Metodologicamente, a pesquisa é de cunho qualitativo com utilização de Arts-Based Research para comunicá-la por meio de poemas. Os dados foram produzidos a partir da realização de um curso de extensão universitária na Universidade Estadual Paulista “Júlio de Mesquita Filho” (UNESP) no qual lincenciandos em Matemática criaram sete PMDs, sendo cinco do tipo Harlem Shake, uma música e um videoclipe. As ideias matemáticas comunicadas foram o Teorema das Quatro Cores (T4C) e uma Série Geométrica Convergente. Os procedimentos metodológicos foram as notas de campo, as PMDs, as videogravações das aulas e das entrevistas semiestruturadas e os questionários. A fundamentação teórica a respeito das imagens da Matemática construídas nesse cenário, além de aspectos artísticos e tecnológicos na Educação Matemática compuseram a descrição e a análise dos dados. Como observações, aponto a construção de imagem da Matemática mais flexível, ou seja, admitindo a influência humana, bem como criativa, abrangendo características coloridas, vivas e ativas. Também, a formação de coletivos pensantes do tipo professores-com-Artes-e-tecnologias-digitais foi destacada nos resultados desta pesquisa. Destarte, PMD foi vista como uma possibilidade didático-pedagógico na qual o aluno é mais ativo no processo de ensino e de aprendizagem. Esta pesquisa contribui na produção de conhecimentos voltados a inovação artística-tecnológica em Educação Matemática. / This research aims to investigate aspects around the public image of Mathematics (PIM) in a setting in which pre-service Mathematics teachers were engaged in the production of digital mathematical performance (DMP), in other words, to investigate the educational role of Arts and technologies regarding Mathematics visions around pre-service Mathematics teachers. Research question was: how does occur the process of construction of Mathematics images in a setting in which pre-service Mathematics teachers produce DMP? DMP refers to the use of Arts and digital technologies (DT) in Mathematics Education, conceived as a research line, a didactical and pedagogical approach or as an artistic mathematics multimodal narrative. Methodologically, this research is qualitative, using Arts-Based Research to communicate itself through poems. Data were produced in a course at Sao Paulo State University “Júlio de Mesquita Filho” (UNESP) in which pre-service Mathematics teachers produced seven DMPs, which were seven Harlem Shakes, one music and one video clip. Mathematics ideas communicated were Four Color Theorem and a Geometrical Convergent Series. Methodological proceedings were field notes, DMPs, classes’ film recordings and semi structured interviews and questionnaires. Theoretical framework in respect of the Mathematics images constructed in this setting, besides artistic and technological aspects in Mathematics Education composed the description and analyses of data. The findings are related to the construction of Mathematics as flexible, in other words, admitting human influence, as well as creative, being colorful, live and active. Besides, we can stress the formation of thinking collectives of teachers-with-Arts-and-digital-technologies throughout this research data. We can also point out to DMP as a pedagogical and didactical possibility in which students can be active throughout teaching and learning process. This research contributes to the production of knowledge in regard of artistic and technological innovation on Mathematics Education. / CNPq: 130448/2015-0