O presente trabalho tem como objetivo compreender o processo de construção de uma performance através da observação do estudo de flautistas profissionais que atuam em orquestras brasileiras. Para isso, foram selecionados três flautistas com o cargo de 1ª flauta. Foram utilizadas as técnicas de pesquisa, entrevistas semiestruturadas e gravações das sessões de estudo, nas quais os flautistas foram incentivados a mencionar os problemas com os quais se deparavam e como faziam para resolvê-los, no solo inicial do Choros nº 6, de Heitor Villa-Lobos. O referencial teórico foi construído através do estudo de modelos das pesquisas empíricas existentes na área e, a partir dele, foi elaborado um modelo próprio de análise. Dessa forma, foi possível identificar as estratégias de estudo utilizadas por cada um dos participantes e verificar qual a importância dada a cada uma delas, além de analisar a construção de cada performance, utilizando como referência o estudo de Chaffin e Imreh (2001). Entendemos que cada flautista, apesar de variadas semelhanças, construiu o seu estudo de forma diferenciada, uma vez que cada participante se atentou para um aspecto diferente de cada dimensão. As estratégias de estudos muitas vezes se repetiram durante a prática dos flautistas; entretanto, estratégias individuais também foram observadas. Além disso, é importante ressaltar que algumas dessas estratégias são específicas para o instrumento estudado. / The purpose of this study is to understand the process of building a performance by observing the practice of professional flutists working in Brazilian orchestras. Therefore, three principal flutists were selected. Technical research, semi-structured interviews and recordings of study sessions were used, in which the participants were encouraged to mention the problems they faced while performing the solo section of the Choros nº 6 solo by Heitor Villa-Lobos and how they solved them. The theoretical framework was based on studying models of empirical research in the area from which we built our own analytical model to identify the practice strategies used by each of the participants and check the importance given to each of the strategies, as well as analyzing the construction of each performance using the study by Chaffin and Imreh (2001). We understand that each flutist built his practice differently, since each participant focused on a separate aspect of each dimension. The study strategies were often repeated during the study. However, individual strategies were used by each participant in their own practice. We observed that some strategies are specific to the instrument in study.

I denna studie har jag undersökt hur min övning på trumset och slagverk ser ut inför spel med RI-ensemble och slagverksensemble. Studien har utgått från ett designteoretiskt perspektiv och forskningsfrågorna: 1) Hur designar jag mitt övande till respektive ensemble? 2) Vilka semiotiska resurser används och hur används de? Under studien har jag samlat in data genom att filma några övningspass och skrivit loggbok. Därefter har jag analyserat min data utifrån en tematisk analys för att lyfta fram hur de semiotiska resurserna används, vilka mönster som finns i min planering och hur jag använder olika övningsmetoder och strategier. Detta för att få en så klar bild som möjligt över hur mina övningspass ser ut. Resultatet visar mitt genomförande av övningspassen och lyfter också fram olika metoder och strategier jag använt, till exempel långsamt övande, överdrivna rörelser och att upprepa de rätta rörelsemönstren. Studien presenterar också litteratur och forskning som är relevant för ämnena övning, trumset och slagverk. I slutet av studien förs en diskussion kring mitt resultat i förhållande till denna litteratur och designteorin. / In this study I have explored how my practice on drum set and percussion looks like before playing with a RI-ensemble and a percussion ensemble. The study has been based on a design theoretical perspective and the following research questions: 1) How do I design my practice to each ensemble? 2) Which semiotic resources are used and how? During the study I´ve been gathering data by filming some of my practice sessions and writing a logbook. I have then analyzed my data based on a thematic analysis to highlight how the semiotic resources are used, what patterns are shown in my planning and how I use different types of methods- and strategies in my practice. This is done to get a clear understanding on how my practice sessions looks like. The result shows my execution of the practice session and also highlights different methods and strategies I used, for example I used slow practicing, excessive movements and repeating the correct movements. The study also presents literature and research that is relevant for the subjects of practice, drum set and percussion. At the end of the study, there is a discussion about my result compared to the presented literature and the design theory.

The basics of visualisations in the context of Cultural Heritage are not broadly defined. But this is the precondition to find out suitable and practical strategies to document and manage the knowledge contained therein. For this, the paper focusses the properties, potentials and typologies of Cultural Heritage visualisations related to application fields and possibilities as well as documentation strategies, creation process and methodology. The paper starts with a theoretical overview of the properties and potential of visualisation related to the usability in the context of Cultural Heritage. On this basis the correlation between application possibilities and the three application fields - research, transfer of knowledge and preservation - will be discussed. In a second part, the paper identifies the similarities and differences of typical working processes and methodologies by the study “Investigation of 3D modelling workflows in CH with the object of development of key concepts and definitions”. This is a subproject of the project COSCH with the purpose to create a framework called COSCHKR as an international and interdisciplinary platform for state-of-the-art documentation of Cultural Heritage. For this, the main topic of the study was the analysis, evaluation and comparison of thirty different 3D projects of three institutes. It was possible to define different types of CH visualization and framework of a working process. Third topic is the documentation and management of knowledge of such visualisation in the field of Cultural Heritage. The paper compares three current research projects and points out commons and differences of the different strategies. At the end, a synthesis gives a first idea for common strategies and best practice guidelines of Cultural Heritage visualisation related to the process, methodology and documentation. Purpose – Find out general strategies to document and manage knowledge Design/methodology/approach – Based on investigation and evaluation of different projects. Originality/value – Most of the projects are a special application for one research question, this methodology raises a common claim. Practical implications – The outcomes of the investigation is a basis for further practical applications with a high range of usability.

Representation has always been a critical component in architectural practice and representational techniques have been evolving over time. The relatively recent advent of the digital media is revolutionizing architectural representation. Digital representation techniques are proving to be a more effective means of communicating the design to the client and the collaborative project team. The techniques are advancing so rapidly that it is becoming increasingly difficult to keep in pace with the digital acceleration and utilize these representation techniques in architectural practice. There is a wide difference between what is possible using digital architectural visualization and what is implemented in practice. The research explores the extent of utilization of these digital representation techniques and the challenges they pose in practical implementation. Employing a logical approach to selectively implement this digital procedural change in representation would help in realizing the strategic benefits of these rapidly progressing techniques.