Do you remember the first time you used an Automatic Teller Machine (ATM)? Or a pay-at-the-pump gas station? Or an airline e-ticket kiosk? How did you know what to do? Although you never received any formal instruction in how to interact with the self-service technology, you were likely able to accomplish your task (e.g., withdrawing or depositing money) as successfully as an experienced user. However, not so long ago, to accomplish that same task, you needed the direct mediation of a service professional who had been trained how to use the required complex technology. What has changed? In short, the technology is now able to compensate for the average consumer's lack of experience with the transactional system. The technology itself bridges the performance gap, allowing a novice to accomplish the same task as an experienced professional. This shift to a self-service paradigm is completely changing the dynamics of the consumer relationship with the capitalist enterprise, resulting in what is rapidly becoming the default consumer interface of the postmodern era. The recognition that the entire performance support apparatus now revolves around the end user/consumer rather than the employee represents a tectonic shift in the workforce training industry. What emerges is a homogenized consumer culture enabled by self-service technologies--a kiosk culture. No longer is the ability to interact with complex technology confined to a privileged workforce minority who has access to expensive and time-consuming training. The growth of the kiosk culture is being driven equally by business financial pressures, consumer demand for more efficient transactions, and the improved sophistication of compensatory technology that allows a novice to perform a task with the same competence as an expert. "The Kiosk Culture" examines all aspects of self-service technology and its ascendancy. Beyond the milieu of business, the kiosk culture is also infiltrating all corners of society, including medicine, athletics, and the arts, forcing us to re-examine our definitions of knowledge, skills, performance, and even humanity. The current ubiquity of self-service technology has already impacted our society and will continue to do so as we ride the rising tide of the kiosk culture.

Mémoire en recherche-création. / Ce mémoire de recherche-création explore le processus de conception et de production menant à la performance audiovisuelle Capter les fréquences optiques. Ce processus repose sur la rétro-ingénierie de dispositifs optiques, tels que des têtes de numériseurs, afin de générer des sons et des images à partir d'objets en proximité des senseurs. Des panneaux solaires sont également détournés de leur fonction habituelle afin de rendre audibles diverses sources lumineuses. Les stratégies d’élaboration dans la création de ces dispositifs de lutherie expérimentale entre en résonances avec la culture du do-it-yourself (le faire par soi-même), caractérisée en partie par le recyclage, l’intégration des résidus et le détournement. Passant par la notion de nostalgie technologique vers la matérialité du bruit et de l’approche critique dans le glitch art, ce texte examine comment la matérialité infuse le processus à travers la réappropriation d’objets électroniques. Par conséquent, l'œuvre met en évidence la façon dont la matérialité des circuits électroniques sert de vecteur d'agentivité, jouant un rôle esthétique et conceptuel crucial tout au long du processus de création, et ce, jusqu'au contexte de la performance. / This research-creation memoir explores the design and production process leading to the audiovisual performance Capturing Light Frequencies. This process relies on the reverse engineering of optical devices, such as scanner heads, to generate sounds and images from objects in proximity to their sensors. Solar panels are also redirected from their usual function to generate sound from various light sources. The strategies employed in these experimental instruments resonate with the do-it-yourself culture, characterized in part by recycling, the integration of residuals and hardware hacking. Examining the notion of technological nostalgia towards the materiality of noise and the critical approach in glitch art, this text examines how materiality infuses the process through the appropriation of electronic circuitry. Consequently, the work highlights how the materiality of electronic circuits serves as a vector of agentivity, playing a crucial aesthetic and conceptual role throughout the creative process, right up to the context of performance.

The privacy and surveillance issues that are consequences of the Internet of Things are the motivation and grounding for this thesis project. The Internet of Things (IoT) is a scenarioin which physical objects are able to communicate to each other and the environment, by transferring data over communication networks. The IoT allows technology to become smaller and more ubiquitous, and by being integrated in the environment around us, the world is becoming increasingly connected. Even though these developments will generally make our lives easier and more enjoyable, the Internet of Things also faces some challenges. One of these are the aforementioned privacy and surveillance issues that are the results of transferring sensitive data over communication networks. The aim of this thesis project is therefore to answer, both in a theoretical, as well as in a practical way, the following research question: How can the Internet of Things be more accessible and safe for the everyday user? Accordingly, the Auster online platform, the Auster app and the Data Obfuscation Kit were developed to provide people with the tools and knowledge to construct home automation projects themselves, as an alternative for using applications from governments and corporations alike. The aim is to create a way to endow people with the capability to exploit their talents, realise their visions and share this with a community joining forces. By enabling people to create their own home automation projects, personal data is kept in the user’s possession and the collection of data by governments and companies alike is prevented. Moreover, by giving the control over technology back to the user, creativity and innovation in the field of the Internet of Things in domestic environments are expected to increase.

Esta pesquisa busca contribuir para o desenvolvimento de relações entre corpo e tecnologia, ao compreender esse dialogo como um sistema alterador de percepção. Ao partir da experiência do corpo junto a dispositivos que permitem a transgressão do organismo natural, inicio com essa dissertação a formulação do conceito de \"acoplamento\", espécie de extensão que não invalida o corpo natural, mas que trabalham em conjunto para formar um novo corpo propositor de distintas perspectivas. Compreendo que \"acoplamento\" seja em consonância ao que chamo \"poética do risco\", onde encaro a berlinda não como um abismo, mas como um desconhecido que me permite sair da zona de conforto para alcançar a potência do sistema em que me encontro. Ao apresentar alguns trabalhos desenvolvidos nos últimos anos, pretendo tatear noções de corpo, tecnologia, presença, órtese e prótese que possam apontar caminhos para a formulação do que venho até então chamando de \"acoplamento\". Serão apontados os trabalhos: \"adaMachine Experimento #1 Máquina de Criar Presenças\", performance telemática que investiga possibilidades de presença, tecnologias e afetos através de formas de comunicação mediadas, ruidosas e suscetíveis as limitações dessa mediação; \"La Grand Pelea\" investiga sensores biofísicos buscando ultrapassar a fronteira da pele através da criação de wearables, com capacidade para potencializar as relações entre a tecnologia e o corpo que a veste, propondo interfaces assistivas e para performance; e \"Monomito\", objeto performático vestível, no qual as dimensões da tecnologia e do corpo ocupam o mesmo lugar de importância, trata da jornada humana modificada pelas relações que cria com o outro, ainda que em tempos distintos. Encerro esta dissertação com um relato sobre o Projeto Híbrida, que promoveu de forma técnica, teórica e sensível, conexões que nos mostram as potências do atuar coletivamente na contemporaneidade. O projeto revela implicações que extrapolaram os conceitos de arte e o laboratório acadêmico ao vivenciar a cultura do compartilhamento e da prototipagem para apresentar questões estéticas que emergiram de proposições sensíveis, oferecerendo ferramentas de empoderamento social. / This research aims to contribute to the development of relations between body and technology, as understanding this dialogue as perception changing system. From the physical experience of connection with devices that allow the transgression of the natural organism, I discuss, with this dissertation, what I\'ve been calling the \"coupling\" concept. A sort of body extension that does not invalidate the natural body, but instead works mutually to form a new body that proposes different perspectives. In my understanding, \"coupling\" is in consonance to what I call \"poetics of risk,\" in which I see the line before the void, the exit point; not as an abyss, but as an unknown space that allows me to get out of the comfort zone to achieve the power of the system in which I find myself in. By presenting some work done in recent years, I want to grope for notions of body, technology, presence, orthotics and prosthesis that indicate the principles for what I\'ve been calling so far as \"coupling\". The works that will be discussed are: \"adaMachine Experiment # 1 Presence Creator Machine\", a telematic performance that investigates the possibilities of presence, technologies and affections through mediated, noisy and limited communication; \"La Grand Pelea\" investigates biophysical sensors seeking to cross the border of the skin by creating wearables, able to enhance the relationship between technology and the body that wears it, proposing interfaces for assistive purposes and performative art experiments; and \"Monomyth\", wearable performative object, in which the dimensions of technology and body occupy the same place of importance, deals with the human journey that is modified by establishing peculiar relations provoked by the apparatus and the performer. I conclude this dissertation with a report about Hibrida Project, which promoted technical, theoretical and sensitive connections that show us the power of acting collectively in contemporary times. The implications of this project revealed that it went beyond the concepts of art and the academic laboratory, as its participants experienced the culture of sharing and prototyping, and were able to present aesthetic issues that emerge from these sensitive propositions, offering social empowerment tools.

Esta pesquisa busca contribuir para o desenvolvimento de relações entre corpo e tecnologia, ao compreender esse dialogo como um sistema alterador de percepção. Ao partir da experiência do corpo junto a dispositivos que permitem a transgressão do organismo natural, inicio com essa dissertação a formulação do conceito de \"acoplamento\", espécie de extensão que não invalida o corpo natural, mas que trabalham em conjunto para formar um novo corpo propositor de distintas perspectivas. Compreendo que \"acoplamento\" seja em consonância ao que chamo \"poética do risco\", onde encaro a berlinda não como um abismo, mas como um desconhecido que me permite sair da zona de conforto para alcançar a potência do sistema em que me encontro. Ao apresentar alguns trabalhos desenvolvidos nos últimos anos, pretendo tatear noções de corpo, tecnologia, presença, órtese e prótese que possam apontar caminhos para a formulação do que venho até então chamando de \"acoplamento\". Serão apontados os trabalhos: \"adaMachine Experimento #1 Máquina de Criar Presenças\", performance telemática que investiga possibilidades de presença, tecnologias e afetos através de formas de comunicação mediadas, ruidosas e suscetíveis as limitações dessa mediação; \"La Grand Pelea\" investiga sensores biofísicos buscando ultrapassar a fronteira da pele através da criação de wearables, com capacidade para potencializar as relações entre a tecnologia e o corpo que a veste, propondo interfaces assistivas e para performance; e \"Monomito\", objeto performático vestível, no qual as dimensões da tecnologia e do corpo ocupam o mesmo lugar de importância, trata da jornada humana modificada pelas relações que cria com o outro, ainda que em tempos distintos. Encerro esta dissertação com um relato sobre o Projeto Híbrida, que promoveu de forma técnica, teórica e sensível, conexões que nos mostram as potências do atuar coletivamente na contemporaneidade. O projeto revela implicações que extrapolaram os conceitos de arte e o laboratório acadêmico ao vivenciar a cultura do compartilhamento e da prototipagem para apresentar questões estéticas que emergiram de proposições sensíveis, oferecerendo ferramentas de empoderamento social. / This research aims to contribute to the development of relations between body and technology, as understanding this dialogue as perception changing system. From the physical experience of connection with devices that allow the transgression of the natural organism, I discuss, with this dissertation, what I\'ve been calling the \"coupling\" concept. A sort of body extension that does not invalidate the natural body, but instead works mutually to form a new body that proposes different perspectives. In my understanding, \"coupling\" is in consonance to what I call \"poetics of risk,\" in which I see the line before the void, the exit point; not as an abyss, but as an unknown space that allows me to get out of the comfort zone to achieve the power of the system in which I find myself in. By presenting some work done in recent years, I want to grope for notions of body, technology, presence, orthotics and prosthesis that indicate the principles for what I\'ve been calling so far as \"coupling\". The works that will be discussed are: \"adaMachine Experiment # 1 Presence Creator Machine\", a telematic performance that investigates the possibilities of presence, technologies and affections through mediated, noisy and limited communication; \"La Grand Pelea\" investigates biophysical sensors seeking to cross the border of the skin by creating wearables, able to enhance the relationship between technology and the body that wears it, proposing interfaces for assistive purposes and performative art experiments; and \"Monomyth\", wearable performative object, in which the dimensions of technology and body occupy the same place of importance, deals with the human journey that is modified by establishing peculiar relations provoked by the apparatus and the performer. I conclude this dissertation with a report about Hibrida Project, which promoted technical, theoretical and sensitive connections that show us the power of acting collectively in contemporary times. The implications of this project revealed that it went beyond the concepts of art and the academic laboratory, as its participants experienced the culture of sharing and prototyping, and were able to present aesthetic issues that emerge from these sensitive propositions, offering social empowerment tools.

The project elaborates design opportunities for a future practice that could promotealternative sustainable lifestyles on waste handling through up-cycling activities. It doesthis on a small scale through engagement in the local communities of the Hildaneighborhood and Segepark students’ accommodations in Sweden. To thesecommunities, creative-up-cycling is explored which it introduced here as an approachwhere neighbors can participate in making new things from leftover materials. Throughthis work creative-up-cycling is a proposed recommendation for a possible service systemon how to share the leftover materials in the local resident’s communities, as well as, howto remake the items no longer needed.The empirical studies explore maker culture lifestyles and include how to find leftovermaterials, tools, space, and skills in order to guide people in creative-up-cyclingalternatives. These creative activities also build social relationship via the integration ofmultidisciplinary citizens who are living in the same community and explorations weredone on how could we elicit the skill sets from those people? What is a useful skill set inthis area today? Values like mutual physical experience, reciprocity, and ownership couldalso be found along the empirical workshops in this project. Additionally, this reportshows some interesting findings pointing towards the design process and the suggestionsof design elements; ‘Co-storage’, ‘Mix and Match furniture shop’, and ‘Renovation andup-cycling’ concept elements.Participatory design (designing with people) has been the core approach in this project.Additionally, I have been influenced by user-centered design, as well as service designapproaches in order to comprehend the services, system and activities of recycling andup-cycling in cities like: SYSAV, STPLN, Cykelköket, Återskapa, Toolpool. The findingpresented here are examples of practices that could make up the composition of recyclingand up-cycling activities in future local communities.

This dissertation thesis is focused on the search for the presence of DIY (Do It Yourself) technologies in the practice of digital sculpting, from the beginnings of this progressive way of creation to the present. The work, through three thematic areas, answers the main research questions: What kind of technology is or has the DIY phenomenon been represented in digital sculpture? How have these technologies influenced and are influencing the development and direction of digital sculpture? Within the first thematic area, the presence of the DIY phenomenon in the beginnings of digital creation of a spatial work of art is mapped until the moment of constituting the concept of Digital Sculpture, as a designation of this new way of creation. The second area deals with specific technologies of digital sculpture, in terms of technical tools and their DIY alternatives. The development of these alternative technologies and their influence on the gradual democratization of digital sculpture tools is investigated. The third area examines the creative methods of DIY, which have been integrated into the practice of digital sculpture.

<p>Denna studie utreder vilka funktioner och roller som byggvaruhuskedjor efterfrågar att deras leverantörer från träindustrin bör ha i marknadskanalen. Vidare förklaras hur dessa leverantörer bör agera för att möta dessa krav och förväntningar. Sålunda skapas gynnsamma utvecklingsmöjligheter av nya produktlösningar för att svara upp till nya krav på teknik och produktutveckling för att öka försäljningen av trävaror till de viktiga GDS (Gör-Det-Själv)- och byggmaterialmarknaderna i både Sverige och Europa. Byggvaruhuskedjorna anser att träindustrin har ett alldeles för stort produktions- och volymfokus och inriktar sig för mycket på export av trävaror. Byggvaruhuskedjor efterfrågar alltmer en leverantör från träindustrin med en hög anpassningsförmåga som kan medverka i kedjans utvecklingsarbete och som samtidigt har stor lyhördhet gentemot marknadens behov och har möjlighet att göra anpassningar till lokala GDS- och byggmaterialmarknader. Leverantörer från träindustrin måste sålunda gå ifrån produktions- och volymfokusering till kundutveckling och kundfokus. Deras produktivitetsutveckling och samarbetsvillighet har en stor betydelse för att generera en välfungerande interaktion med sina kunder. Sålunda kan en koppling mellan deras egen produktion och deras kunders behov utvecklas. Det kommer sannolikt att bli mycket kostsamt och svårt för träindustrin att försöka bearbeta den svenska och europeiska marknaderna utan att använda byggvaruhuskedjorna som marknadskanal. Byggvaruhuskedjornas ökade konsumentfokus och riktade marknadsföring medför enligt dem själva en expansion av marknaden samtidigt som prismedvetenheten och kraven från GDS- och byggmaterialmarknaderna ökar. Byggvaruhuskedjorna verkar alltmer fungera som systemintegratör och anser själva att de känner av en större makt gentemot sina leverantörer. Byggvaruhuskedjorna förefaller dock svårare att definiera som antigen mega-retailers eller category-killers. Branschgränserna blir alltmer oklara och det blir sålunda svårare att avgöra vilka företag som specifikt kan klassificeras att tillhöra bygghandeln Den nationella bygghandeln blir samtidigt alltmer internationell och sammanfattningsvis verkar en marknadskanal med nya funktioner och strukturer att utvecklas.</p>

Denna studie utreder vilka funktioner och roller som byggvaruhuskedjor efterfrågar att deras leverantörer från träindustrin bör ha i marknadskanalen. Vidare förklaras hur dessa leverantörer bör agera för att möta dessa krav och förväntningar. Sålunda skapas gynnsamma utvecklingsmöjligheter av nya produktlösningar för att svara upp till nya krav på teknik och produktutveckling för att öka försäljningen av trävaror till de viktiga GDS (Gör-Det-Själv)- och byggmaterialmarknaderna i både Sverige och Europa. Byggvaruhuskedjorna anser att träindustrin har ett alldeles för stort produktions- och volymfokus och inriktar sig för mycket på export av trävaror. Byggvaruhuskedjor efterfrågar alltmer en leverantör från träindustrin med en hög anpassningsförmåga som kan medverka i kedjans utvecklingsarbete och som samtidigt har stor lyhördhet gentemot marknadens behov och har möjlighet att göra anpassningar till lokala GDS- och byggmaterialmarknader. Leverantörer från träindustrin måste sålunda gå ifrån produktions- och volymfokusering till kundutveckling och kundfokus. Deras produktivitetsutveckling och samarbetsvillighet har en stor betydelse för att generera en välfungerande interaktion med sina kunder. Sålunda kan en koppling mellan deras egen produktion och deras kunders behov utvecklas. Det kommer sannolikt att bli mycket kostsamt och svårt för träindustrin att försöka bearbeta den svenska och europeiska marknaderna utan att använda byggvaruhuskedjorna som marknadskanal. Byggvaruhuskedjornas ökade konsumentfokus och riktade marknadsföring medför enligt dem själva en expansion av marknaden samtidigt som prismedvetenheten och kraven från GDS- och byggmaterialmarknaderna ökar. Byggvaruhuskedjorna verkar alltmer fungera som systemintegratör och anser själva att de känner av en större makt gentemot sina leverantörer. Byggvaruhuskedjorna förefaller dock svårare att definiera som antigen mega-retailers eller category-killers. Branschgränserna blir alltmer oklara och det blir sålunda svårare att avgöra vilka företag som specifikt kan klassificeras att tillhöra bygghandeln Den nationella bygghandeln blir samtidigt alltmer internationell och sammanfattningsvis verkar en marknadskanal med nya funktioner och strukturer att utvecklas.