Este trabalho tem como objetivo estudar o uso de histórias no encontro clínico com crianças psicóticas. Entendemos que as histórias nos aproximam de experiências da natureza humana; na experiência de ouvir/ler uma história, é possível ao ouvinte/leitor reconhecer nela um sentido relativo à sua própria vida. Tal tema surgiu a partir da própria experiência clínica, numa Oficina Terapêutica de História. A Oficina Terapêutica era parte do dispositivo clínico GIRAMUNDO oficinas terapêuticas e inclusão, da Clínica Psicológica Ana Maria Poppovic da PUC/SP. Para alcançarmos o objetivo proposto, estudamos as características das histórias, relacionando-as ao tema da experiência e articulando-as, posteriormente, com os conceitos winnicottianos de transicionalidade e criatividade. A partir da teoria de Winnicott sobre o desenvolvimento emocional primitivo pensamos em como a transmissão e a tradição das histórias podem ser articuladas às especificidades da clínica da psicose infantil. A pesquisa é qualitativa, de abordagem psicanalítica. Levando em conta que a pesquisa qualitativa busca aperfeiçoar as formas que tornam possível compreender o mundo da experiência, tal estudo foi realizado por uma leitura das situações e cenas vividas no encontro clínico em Oficinas Terapêuticas resgatadas de um registro textual, O livro da oficina de história. De forma geral, notamos que o registro do Livro da oficina de história marca dois momentos principais. No primeiro momento, o registro era uma narrativa do que acontecia na Oficina, quem estava, o que estava fazendo etc., e uma história se desenrolava a partir daí. Já no segundo momento as crianças tiveram um papel mais ativo na construção das narrativas, inventando histórias novas e experimentando o mundo do faz-de-conta. Parece que a experiência de vivenciar um eu-descrito possibilitou o surgimento de um eu-narrador: momento no qual as crianças eram, ao mesmo tempo, personagens e criadoras de personagens e, de alguma forma, começaram a brincar de fazer histórias. O brincar articula a rede de todas as funções e tarefas pelas quais passamos para o desenvolvimento do sentimento de si mesmo, e observamos que criar histórias é também uma forma de brincar criativo / This paper intends to study the use of stories in clinical encounter with psychotic children. We propose that stories bring us closer to human nature experience; in hearing/reading a story, the hearer/reader is able to recognize a meaning relative to his/her own life. Such a theme emerged through the experience of working in a Therapeutical Workshop of Stories. It was a part of a clinical device called GIRAMUNDO therapeutical workshops and inclusion, hosted by the Ana Maria Poppovics Psychological Clinic in PUC/SP. To attain the aforementioned objective, we studied the storys characteristics, correlating them to the theme of experience, and after associating them with the winnicottian concepts of transitionality and creativity. From Winnicotts theory regarding primitive emotional development, we considered how the tradition and transmission of stories could be related to specificities in child psychosis treatment. This is a qualitative research of psychoanalytical approach. Given the fact that a qualitative research aims to improve the modes of understanding the world of experience, this study was made through the reading of scenes and situations lived in clinical encounters in Therapeutical Workshops taken from a textual record, O livro da oficina de história (The book of the Workshop of Stories). In general, this record has two major time frames. In the first one, the record was a narrative of what took place in the workshop (who was there, what they were doing, etc.) and the story unraveled from there. In the second, the children had a more active role in the narratives construction, creating new stories and experiencing the make-believe world. It seems that experiencing a describedme allowed the appearance of an I-narrator: moment in which the children were, at the same time, characters and creators of characters and, in a way, started playing by making stories. Playing links the network of functions and tasks that we must live through for the development of the feeling of self, and we observed that making stories is also a form of creative playing

Matlab Simulink is a commonly used tool in the design process of control systems. To further take advantage of the Matlab Simulink models it is desirable to translate them for realtime use together with the possibility to read/write physical signals. Real-Time Workshop is an extension to Simulink that automatically generates code from a model to a variety of target platforms. RTAI and RTLinux are hard realtime operating systems, making use of Linux. To make automatically generated code run on RTAI and RTLinux an adaptation of the generation of code is necessary. To control, for example, an automotive engine a data acquisition card with an appropriate device driver is required. Comedi, an open source project, provides a number of device drivers for data acquisition cards. The developed system makes use of Simulink, Real-Time Workshop, RTAI or RTLinux, and the standard data acquisition card NI 6035E using a Comedi device driver. The Simulink models may be executed at frequencies up to 50 kHz on ordinary PC hardware. The evaluation of the system consisted of measuring the interrupt latency of the used motherboard's bus, measuring computation times running Simulink models with known complexity, running models developed at Vehicular Systems and a comparison of interfacing Simulink/Real-Time Workshop between RTAI and RTLinux. The recommended realtime operating system is RTAI due to the open source community support of it as a target platform for Real-Time Workshop.

Ordet workshop är något som växt sig mer och mer välkänt under det senaste årtiondet. Det har blivit ett allt mer använt, såväl som omtyckt arbetssätt. Detta har medfört att bra workshopmetoder är något som är av stort intresse för företag. En form av workshop som används är idégenereringsworkshops, något som kan vara önskvärt vid dessa är att samtliga deltagare har en gemensam målbild, vilket kan vara problematiskt att uppnå. Målet med denna fallstudie var att skapa en workshopmetodik som är anpassad för arbete med mobila applikationer. Workshopen genomsyras också av ett fokus på att skapa en gemensam målbild hos deltagarna, samt ett synsätt som utgår från den potentiella mobilapplikationens slutanvändare. Genom att utnyttja information från en litteraturstudie, ett antal intervjuer samt önskemål och erfarenheter från företaget Sogeti inom ämnet, skapades en mängd kriterier. Dessa kriterier låg som grund för vilka tekniker som var lämpliga att implementera i workshopmetodiken. Till sist prövades också workshopmetodiken i två iterationer, för att analysera huruvida den teoretiska workshopen fungerade i ett verkligt sammanhang eller inte. Det slutgiltiga resultatet blev en workshopmetodik med noggrant utvalda tekniker. En metodik som i sina testfall uppfyllde grundtankarna om gemensam målbild och att ha slutanvändare som utgångspunkt genom hela workshopen. Slutsatser som drogs var att denna workshopmetodik bör fungera bra att använda till en idégenereringsworkshop, speciellt en som inriktar sig mot mobilitet. De moment i workshopmetodiken som är essentiella för att nå ett önskat resultat identifierades som; syftesbeskrivning, Empathy map, Nominal group technique och 20-20 Vision. / Workshops have become a familiar phrase during the last decade. It is a useful and popular way of working, which has led to workshops methodology being of great interest to a numerous amount of companies. One type of workshop is the idea generating workshop. During these it is desirable that the participants have a common objective during the workshop, which at times can be hard to achieve. The purpose of the case study was to create a workshop methodology surrounding mobile applications. The workshop focuses on creating a common objective for the participants and letting the company representatives focus on their potential users. Several criteria were extracted from a literature study, interviews and requests provided from the company Sogeti. These criteria were then used to select suiting techniques and with them, create a workshop methodology. The workshop was tested and analyzed twice, by performing test runs. This was to be able to see whether the workshops would work as expected in a real life scenario or not. The end result is a workshop methodology with elaborately chosen techniques. During the test cases the workshop met its demands on a common objective, as well as having the participants centering their idea generation on their end users through the whole workshop. The conclusions made from the study were that this method should work fine when used as an idea generating workshop, especially when used in the context of mobile applications. The different parts of the workshop which are crucial for it to reach a desirable result have also been identified as; purpose description, Empathy map, Nominal group technique and 20-20 vision.

The last few years a lot of media air time has been devoted to training, sports, health and weightloss on a more personal level then before. The new media arena is beeing used at its´ maximumto broadcast wievs on how we should eat, look, exercise and live. This thesis is trying to makebetter understanding on what people in general think is important when it comes to physicaltraining and motivation with the aid of digital media and IT systems. The thesis describes aworkshop that was conducted within the frames of Participatory Design and the outcome of thatworkshop. The workshop was conducted with a group of lead users (in this case instructors at avery large fitness center in Umeå, Sweden) and the main question was ”How can IT be used toachive a positive effect on physical exercise if motivation is the focus?”. Data was collectedduring both a future workshop and an analysis of a digital media production prototype, andcould be seen as two qualitative studies. The outcome of these studies shows three interestingareas where motivation aided by IT is importat. Primarily it is through the experience of theclass. Through flow and mindfulness. Secondarily motivation can be aided by IT in the field ofresult analysis. As a final arena motivation could also be aided by IT through informationsharing between the finess center and the class participants.

Cette thèse doctorale porte sur les lieux et les processus de fabrication de la céramique dans le Golfe de Tarente entre les VIIIe et VIe av. J.-C. Le sujet a été abordé par une analyse archéologique des vestiges des installations actuellementconnues. L’enquête prend pour cadre historique le phénomène « précolonial », au sein duquel il est possible d'évaluer les éventuels changements opérés dans l'artisanat potier au moment de l'arrivée de groupes grecs sur les côtes méridionales de l'Italie. Le cadre géographique choisi permet de proposer un modèle de fonctionnement des espaces productifs à l’âge du Fer.Dans ce contexte, le site de l'Incoronata trouve une place particulière en raison de l'important atelier de potiers qui y a étémis au jour, et qui couvre chronologiquement deux siècles d’occupation du site (VIIIe-VIIe s. av. J.-C.), caractérisé parune première phase oenôtre suivie d'une seconde à caractère « mixte », gréco-indigène.Ce travail reprend la documentation complète d'un site archéologique pour exposer une véritable méthodologie d'investigation des espaces artisanaux de l'âge du Fer et de l'époque archaïque, depuis les fouilles anciennes jusqu'à l'analyse contextuelle minutieuse des structures et de l'ensemble de leur mobilier. Ces deux derniers aspects ont toujours été considérés de manière indissociable. Cette analyse fine, à laquelle participent des méthodologies empruntées à d'autres champs disciplinaires – dont le protocole d'étude a parfois été « réinventé » –, permet de proposer une reconstitution de l'organisation topographique et fonctionnelle des ateliers et de restituer le processus de fabrication de la poterie. Elle suggère, en outre, une lecture partiellement nouvelle des modalités de contacts entre indigènes et Grecs le long de la côte ionienne de l'Italie du Sud, notamment à travers l’emploi de la notion de la circulation des artisans. / This doctoral thesis deals with the sites and different stages of ceramic production in the Gulf of Taranto between the 8th and 6th centuries B.C. We propose an integrated analysis of the archaeological remains of workshops.The historical framework of this work relates to the « precolonial » phenomenon, which can exhibit possible changes inpottery craft at the time of the arrival of Greek groups on the southern coasts of Italy. Furthermore, we propose a model forthe spatial dynamics of production within this specific geographical framework during the Iron Age.This research focus on the important pottery workshop excavated in the Incoronata site, which is associated with multipleoccupations that cover two centuries of occupation (8th-7th B.C.), with a first Oinotrian phase and a second « mixed »Greco-indigenous cultural phase.This work represents a complete documentation of the site, including archaeological features and the associated artefacts,which is part the thorough methodology used to investigate craft spaces from both Iron Age and archaic period. We thereforepropose a spatial analysis of pottery production involving the reconstruction of topographical and functional aspects ofworkshop organization as well as technical characteristic that are part of the process of pottery production. Eventually, weconsider the mobility of craftsmen along the Ionian coast of southern Italy and advocate for new interpretations of culturalcontacts between indigenous natives and Greeks in the region.

This thesis traces the history and development of the facilities for electronic music in the UK. It covers the early attempts to experiment with electronic music and create studios in less than ideal circumstances and the subsequent bids to create a national centre. It also covers some elements of worldwide development of electronic music and sound recording, in particular those which occurred before 1965. The thesis calls upon non-traditional sources and the author was able to access many documents in the personal archives of electronic music pioneers. There is substantial reference to committees and societies for electronic music and their effects on the development of facilities for electronic music in the UK. Some of the early pioneers are studied in detail; these include Daphne Oram, Tristram Cary and Hugh Davies. Unprecedented access to information on Hugh Davies and Daphne Oram was provided by the family estates of these recently deceased composers. This allowed the author to gain valuable insight into the working patterns and methodology of these composers. Many references to later pioneers such as Trevor Wishart are also made but the focus remains on the facilities available to composers rather than the composers and their works.

A key step when initiating robot powered production is setting up the control software.This can be a threshold for operators, especially if the software is fragmented and system requirements are extensive.One way to address this is to pre-configure all the control programs and bundle them with a system that fulfills all the requirements. In this work a live operating system (OS) is loaded with control software and configured to  meet the needs of those who have just assembled their first 3D printer.The problem of downloading, configuring and installing various 3D printer controlling programs  is reduced to the problem of distributing and booting the live OS. The solution of loading it onto bootable USB drives is tested and evaluated in the context of a commercial RepRap Assembly Workshop (RAW),  an event where people pay for RepRap 3D printer parts as well as assembly and usage supervision.The RAW is unusually short, so the bootable USB drives' potential to help  RAW hosts with particularly tight time schemes is tested. The results show a limited success.The USB drive is documented not to work for 3 participant groups out of a total of 11 groups.As a solution to fragmented software and diverse system requirements, the live OS is found to work well once booted.Several routes to make the live OS more easily bootable are discussed. Usage examples beyond drop-in replacing existing RAW software setup procedures are discussed. / Alla som startar upp robotiserad produktion måste få igång och börja använda styrprogramvaran.Detta kan inebära en hög tröskel för operatörer, specielt om programen är många och har olika gränssnitt och systemkrav.Ett sätt att hjälpa operatörerna komma igång är att konfigurera alla styrprogram på förhand  och bunta ihop dem med ett system som uppfyller alla krav. I detta arbetet laddas ett live operativsystem med styrprogramvara och konfigureras för att lätt kunna  användas av någon som precis har satt ihop sin första 3D-skrivare.Problemen med hemladdning, konfigurering och installation av en rad olika styrprogram  reduceras till problemet att distribuera och boota live operativsystemet. Lösningen att lasta live-systemet på startbara (eng. bootable) USB-minnen testas och utvärderas  som en del av en kommersiell RepRap monteringskurs (eng. RepRap Assembly Workshop),  ett event där deltagare betalar för RepRap 3D-skrivardelar,  hjälp med att montera ihop dem och med att använda de färdiga 3D-skrivarna.Den undersökta monteringskursen är ovanligt kort, så startbara USB-minnens potential att  underlätta för tidsprässade kursvärdar testas. Resultaten visar en begränsad framgång.Vi visar hur 3 av 11 deltagargrupper inte lyckas använda de startbara USB-minnena.Som en lösning på fragmenterad mjukvara med stora systemkrav fungerar live operativsystemet bra när det väl har startats.Olika sätt att göra live-systemet lättare att starta diskuteras. Tillämpningsområden utöver att ersätta existerande programuppsättslösningar för RepRap monteringskurser diskuteras.

Enligt Kirsh (2010) stärker människor sin kognitiva förmåga på ett flertal sätt vid användandet av externa representationer. Inom design används externa representationer ofta i form av skisser, ritningar och modeller. För att undersöka Kirsh teori kring externa representationer i en designkontext genomfördes två workshopar i samband med ett designuppdrag. Syftet var att undersöka hur fysiska externa representationer användes och om tillhandahållet material påverkar skapandet av externa representationer. Resultatet visade att fysiska externa representationer används men att materialet inte nödvändigtvis påverkar skapandet av fysiska externa representationer. Andra faktorer som troligtvis också påverkar skapandet var bland andra att deltagarna var ovana vid arbetssättet och att förutsättningarna inte var till deras fördel, att tiden till förfogande var för kort och att hierarkiska strukturer uppkom vilket i det här fallet hämmade skapandet av fysiska externa representationer.

Didier-Georges Gabily, Jean-Luc Lagarce et Jean-François Peyret ont la particularité d’avoir tenu, entre 1977 et 2008, un journal personnel. S’il s’agit d’explorer ces matériaux, encore peu étudiés dans le champ des études théâtrales, l’enjeu de la réflexion est de mesurer les apports du jeu diaristique à l’exercice théâtral. Les déplacements de l’un à l’autre sont envisagés dans ce que Philippe Lejeune nomme l’« espace autobiographique ». Dans cette perspective, les journaux ne constituent pas de nouvelles clés de lecture pour l’œuvre mais bel et bien des pièces maîtresses d’un jeu identitaire, ouvrant un dialogue sans fin entre fictions théâtrales, romanesques et textes autobiographiques. La première partie de la réflexion propose de cartographier ces journaux d’un genre particulier en observant d’abord comment la vie de l’homme et celle du théâtre y cohabitent. Comme pour de nombreux! autres artistes, le journal incarne l’espace d’un atelier : on tentera alors d’observer l’élaboration de l’écriture dramatique et on se demandera dans quelle mesure le journal peut constituer une mémoire de l’acte théâtral, par essence éphémère. La seconde partie est divisée en chapitres monographiques : pour chacun des trois auteurs, on arpentera le chemin du journal au théâtre sous l’angle d’une perspective unique ; la tentation autobiographique chez Jean-Luc Lagarce, la question lyrique chez Didier-Georges Gabily et celle du rapport à l’Autre chez Jean-François Peyret. / A common feature of Didier-Georges Gabily, Jean-Luc Lagarce and Jean-François Peyret is that they all kept personal diaries between 1977 and 2008. A study of this as of yet unexplored material from the point of view of theatrical studies can help measure the contribution of the diaristic play to theatrical practice. Movements from one to the other are considered in what Philippe Lejeune calls the “autobiographical space”. In this perspective, diaries do not constitute new reading keys for the works, but rather the cornerstones of an identity game that opens an endless dialogue between theatrical fictions, novels and autobiographical texts. The first part of the work attempts to map these distinctive diaries by observing how they account for both the artist’s life and his theatrical life more generally. As for many other artists, the diary embodies the space of a workshop: I will endeavour to observe the elaboration of dramatic writi! ng and speculate as to the extent to which the diary can constitute a memory of the theatrical act, which is essentially ephemeral. The second part is divided into monographic chapters. For each of the three authors, the path from diary to theatre will be viewed from a single perspective: the autobiographical temptation for Jean-Luc Lagarce, the questions of lyricism for Didier-Georges Gabily, and of inter-personal relationship for Jean-François Peyret.

Abstract This research deals with the strengthening of work-life cooperation in secondary vocational music education leading to basic qualification. The starting point is to examine students' and professional musicians’ action processes in workshops based on a new kind of cooperation in on-the-job learning and to evaluate their suitability to arranging on-the-job learning. The original publications are joined by the framework of sociocultural learning. The purpose of this research is to add understanding about realizing work-life cooperation and learning produced in workshop action in the education of musicians. The pedagogical purpose is to open paths to planning and availing of problem-based learning in on-the-job method which adds to the learner´s involvement. The research is a qualitative case study comprising the total of 143 students and several teachers in the Conservatoire in Oulu and a few professional musicians. The research material (original publications I-III) consists of structured questionnaires, namely: a) students' workshop plans and learning objectives written before the workshops, and b) the written reflective reports after the workshop experiences. The research data was dealt with a theory-based contents analysis. The data was transcribed and tabulated according to a Finnish meta-study categories of learning obstacles and promoters. To widen his understanding of the workshop method the researcher acted as a participating observer in the workshops of Conservatory teachers and professional musicians (6 workshops) the results of which were reported in the original publication IV. The research results show that acting as a musician in a workshop supports learning professional skills and the key competences of lifelong learning. From the pedagogical viewpoint workshop action 1) emphasizes the learner's initiative and taking responsibility, 2) offers work environments typical of music field, 3) builds the action on problem solving and interaction, and 4) changes the role of a visiting professional musician from a source of information and the demonstrator of the “right” performances to a fellow musician. The challenge of vocational teachers is to develop their pedagogical competencies especially in the designing and coordinating learning environments that support students´ learning broadly. This research will bring a new, concrete viewpoint to the planning and implementation of work-life cooperation. / Tiivistelmä Tutkimus käsittelee työelämäyhteistyön vahvistamista musiikkialan perustutkintoon johtavassa toisen asteen ammatillisessa koulutuksessa. Lähtökohtana on tarkastella opiskelijoiden ja ammattimuusikoiden uudenlaiseen yhteistyöhön perustuvien työssäoppimisen työpajojen toimintaprosesseja sekä arvioida niiden soveltuvuutta työssäoppimisen järjestämisessä. Empiiristä tutkimusta yhdistää sosiokulttuurisen oppimisen viitekehys. Tutkimuksen tavoite on lisätä ymmärrystä työelämäyhteistyön toteuttamisesta sekä työpajatoiminnan tuottamasta oppimisesta muusikoiden koulutuksessa. Pedagogisena tavoitteena on avata suuntia opiskelijan osallisuutta lisäävän, ongelmaperustaisen työssäoppimismenetelmän suunnittelulle ja hyödyntämiselle. Tutkimus on laadullinen tapaustutkimus, johon osallistui vuosina 2003–2011 yhteensä 143 Oulun konservatorion opiskelijaa, lukuisia opettajia sekä ammattimuusikoita. Tutkimusaineisto koostuu (osajulkaisut I–III) strukturoiduista kyselyistä, joita ovat: a) opiskelijoiden ennen työpajaa kirjoittamat työpajasuunnitelmat ja oppimistavoitteet sekä b) työpajan jälkeen tehdyt kokemusten kirjalliset reflektoinnit. Aineiston analyysissä käytettiin teorialähtöistä sisällönanalyysiä. Aineisto litteroitiin ja taulukoitiin suomalaisen työssäoppimisesta tehdyn metatutkimuksen oppimista edistävien ja estävien kategorioiden mukaan. Työpajamenetelmään liittyvän ymmärryksen laajentamiseksi tutkija teki osallistuvaa havainnointia konservatorion opettajien ja ammattimuusikoiden työpajoissa (6 kpl), joiden tuloksista raportoitiin osajulkaisussa IV. Tutkimustulokset osoittavat, että muusikkona toimiminen työpajassa tukee oppimista ammatillisen osaamisen sekä elinikäisen oppimisen avaintaitojen kehittymisen osalta. Pedagogisesta näkökulmasta työpajatyöskentelyssä korostuvat 1) oppijan aloitteellisuus ja vastuun ottaminen, 2) toimiminen musiikkialalle tyypillisissä työympäristöissä, 3) ongelmanratkaisukeskeisyys ja vuorovaikutus, 4) kanssamuusikkous – vierailevan ammattimuusikon muuttunut rooli tietoa jakavasta mestarista ja ”oikeiden” suoritusten demonstroijasta yhtyekumppaniksi. Ammatillisten opettajien haasteena on kehittää pedagogista osaamistaan erityisesti opiskelijoiden oppimista laaja-alaisesti tukevien oppimisympäristöjen suunnittelussa ja koordinoinnissa. Tämä tutkimus tuo uuden, konkreettisen näkökulman työelämäyhteistyön suunnitteluun ja toteutukseen.