Made available in DSpace on 2016-06-02T20:39:22Z (GMT). No. of bitstreams: 1 6584.pdf: 911088 bytes, checksum: 8b351552cd7d6299e23495fecee576bc (MD5) Previous issue date: 2014-09-04 / Financiadora de Estudos e Projetos / Given the changes caused by the so-called flexibilization of the work and production processes, the new analysis on the work category have aimed to understand its current settings and its effects on the daily lives of workers. Dynamism, versatility, engagement, selfmanagement, and creativity are just some of the values preached as ideals to be internalized by the workforce. The analysis of work in graphic design seems to indicate if these values are empirically experienced. We tried to analyze the configuration of the activity, the daily activities of this creative work, the personal and professional networks that determine the entry and stay in the sector, the contradictions between the individual creative potential of these workers against the demands of its customers as well as against the uncertainty and flexibility of this labor market. The work by projects, the intermittency of employment contracts, freelancing and the resulting instability are features that compose this activity despite all the glamor that the designation design brings. Nine semi-structured interviews with graphic designers, both actual and through virtual devices (email, Facebook and Skype), seven of them working in the interior of São Paulo, and two in the state capital were performed. / Diante das mudanças ocorridas a partir da chamada flexibilização da produção e processos de trabalho, novas análises sobre a categoria trabalho têm se esforçado para compreender suas atuais configurações e seus reflexos no cotidiano dos trabalhadores. Dinamismo, polivalência, engajamento, autogerenciamento e criatividade são apenas alguns dos valores pregados como ideais a serem internalizados pela força de trabalho. A análise sobre o trabalho no design gráfico parece indicar empiricamente se esses valores são vivenciados, e os conflitos decorrentes. Buscou-se mostrar a configuração da atividade, o dia a dia desse trabalho tido como criativo, as redes pessoais e profissionais que condicionam a entrada e permanência no setor, as contradições existentes entre o potencial criativo individual desses trabalhadores e as demandas de seus clientes e o cenário de incertezas e flexibilidade desse mercado de trabalho. O trabalho por projetos, a intermitência dos contratos de trabalho, o freelancing e a instabilidade resultante são características que compõem essa atividade, apesar de todo o glamour que essa denominação traz consigo. Foram realizadas nove entrevistas semiestruturadas com designers gráficos, tanto presencialmente como por meio de dispositivos virtuais de interação social (e-mail, Facebook e Skype), sete deles atuantes no interior de São Paulo, e dois na capital do estado.

Over the past decade, synthetic piperazines have been associated with multiple fatalities and was one of the top 25 identified drugs in 2011. While circumventing legislative controls and preventing the detection in standard drug tests, synthetic piperazine derivatives are encountered in forensic casework as “legal” alternatives to ecstasy (3,4-methylenedioxymethamphetamine). These chemically-produced compounds share very similar pharmacological and psychological effects with ecstasy which in turn has led to their popularity as “party pills”. The long-lasting duration of synthetic piperazines, especially when 1-benzylpiperazine (BZP) is mixed with 1-(3-trifluoromethylphenyl)-piperazine (TFMPP), has also made them desirable to drug users to receive enhanced hallucinogenic effects. Although most methods are optimized to accurately quantify the amount of drugs in biological specimens submitted for forensic toxicology testing, unforeseeable challenges may arise to complicate the analysis such as postmortem redistribution, enzymatic reactions, the presence of bacterial activities, chemical and matrix interferences as well as the lack of reference materials. Thus, the purpose of this research was to investigate the stability of synthetic piperazines in human whole blood under various storage conditions and time ranges. A total of eight synthetic piperazines were assessed on their degrees of degradation using a Shimadzu Ultra-Fast Liquid Chromatography (UFLC) with SCIEX 4000 Q-Trap Electrospray Ionization Tandem Mass Spectrometry in positive ionization mode. These analytes included: 1-benzylpiperazine (BZP), 1-(4-fluorobenzyl)-piperazine (FBZP), 1-(4-methylbenzyl)-piperazine (MBZP), 1-(4-methoxyphenyl)-piperazine (MeOPP), 1-(para-fluorophenyl)-piperazine (pFPP), 1-(3-chlorophenyl)-piperazine (mCPP), 2,3-dichlorophenylpiperazine (DCPP), and 1-(3-trifluoromethylphenyl)-piperazine (TFMPP). Individual unknown samples were prepared by spiking certified reference standards (Cayman Chemical, Ann Arbor, MI, U.S.A.) of each synthetic piperazine into certified drug-free human whole blood (UTAK Laboratories, Inc., Valencia, CA, U.S.A.) independently at 1000 ng/mL. To closely monitor the stability of each compound and potential drug-drug interactions, mixed samples consisted of all eight piperazines were also stored at room temperature (~20°C), 4°C and -20°C for one, three, six, nine and twelve months in dark sealed containers. Solid phase extraction (SPE) was performed to remove unwanted components prior to the injection into the LC system. Drug of Abuse (DAU) mixed-mode copolymeric columns (Clean Screen®, UCT Inc., Levittown, PA, U.S.A.) were utilized with a positive pressure manifold rack followed by evaporating to dryness with low heat at 65°C. All samples were then reconstituted with 250 µL of 50:50 mixture of methanol and 2mM ammonium formate buffer with 0.2% formic acid (Fisher Scientific, Waltham, MA, U.S.A.). Analysis was performed in triplicate using a reversed-phase column (Kinetex® F5, Phenomenex®, Torrance, CA, U.S.A.) with a binary gradient of a 2mM ammonium formate buffer with 0.2% formic acid and methanol with 0.1% formic acid. The total run time was 11.5 minutes including equilibration and the flow rate was 0.4 mL/min. Three internal standards including BZP-d7, mCPP-d8 and TFMPP-d4 (Cerilliant, Round Rock, TX, U.S.A) were used to generate calibration curves that were ranged from 20 ng/mL to 2000 ng/mL. Results revealed that BZP, MBZP and FBZP were more stable than phenyl piperazines over time under all storage conditions, in which MBZP was consistently more stable and still had more than 70% remaining after 12 months. Data showed a smaller degree of degradation when samples were kept frozen or refrigerated; whereas storing at room temperature should be avoided to ensure minimal degradation and detrimental impacts on stability of piperazine compounds. For crime laboratories that are facing backlog situations, case samples with synthetic piperazines should be kept frozen or refrigerated even for time period as short as 30 days or less. However, storing them for too long will clearly affect the quantitation accuracy because phenyl piperazines are more susceptible to degrade completely after six months regardless of storage conditions. Additionally, matrix interference was present due to the outlier of MBZP quantified on Day 270. Drug-drug interaction was also observed in the analyte mixture but the exact stability pattern of phenyl piperazines when mixed together could not be determined from this data set alone due to discrepancies observed on Day 91 and 270. This research project had shown a solid method to examine how quickly or slowly synthetic piperazines degrade in blood at different storage conditions. To further this study, it would be also important to evaluate the number of freeze-thaw cycles on each specimen in order to minimize the effect of non-metabolic degradation.

This research entails a close analysis of the contemporary home environment. The study of the home environment and the relationship between domestic spaces and residents is a noteworthy trend in design studies. This opens up the possibility of investigating gender influence on interior design. This study focuses on the role of women in designing living spaces’ interiors, to unveil the women's role and participation in their home environment. The main focus of this study is the design role of women in family living rooms, particularly in the context of Jeddah city, Saudi Arabia. The study articulates how women leave identity footprints on the space they have designed and used. My research indicates that the interior design of any space is more complex than simply shaping the use of space; it also reinforces the woman’s influence. The methodological framework has been structured into two main approaches: a case study approach, which involved in-depth case studies of living spaces, and an ethnographical approach, which involved in-depth interviews with middle-class housewives in their living rooms. The latter approach aimed to seek information about experiences, performances, interactions and values in the home environment, and enables identity presentation in the family living room. In addition, associated methods, such as photographic and video records, coding the living space features and visual observation of the living room were used to document every detail of the living space, to enrich data collection and unpack the environmental meanings. These mixed methods helped to understand the reality of women’s home experiences and provide a compelling portrait of women’s roles and identities within their living spaces. The main theoretical paradigms are Judith Butler’s theory of gender performativity and Erving Goffman’s work on the presentation of self in social interaction, to investigate the gender roles and types of performance in the domestic living rooms. The practice of structuring the living room, furnishing and decorating the space interiors and the spatial arrangement illustrate the different circumstances in which women play their roles and have influence in distinct ways in the living rooms’ contexts. How Saudi women use the living space for their private activities and social relationships is examined, to investigate the presentation of Saudi women’s identity and position in the home and beyond. This research has explored Saudi women’s performativity through their design experience and everyday engagement with the interior space and objects within their domestic living rooms; these performances represent their priorities in various roles through which social visibility is assumed. This research has established a new understanding of what goes on behind the closed doors of Jeddah homes. It has been found that Saudi housewives (with no formal interior design education or qualifications) dominate the design of domestic interiors. A new group of designers has been identified, who need to be recognised and acknowledged. In this research context, these Saudi housewives in Jeddah are amateur homemakers and interior designers, designing their home spaces and doing the job like any other professional designers. In this case, they must be acknowledged socially.

[pt] Esse trabalho pretende primeiramente esclarecer o que é a Toy Art, esse novo suporte expressivo de mercado que parte de designers e ilustradores e que contém em si elementos da arte urbana, a street art, como o grafite e o Hip Hop. Contém também elementos de confrontação de uma juventude ativa contra mitos e dogmas cristalizados por gerações anteriores. Um novo suporte que traz à tona uma narrativa da cidade, da rua, com sua violência e humores ácidos, que propõe uma estreita relação entre a arte e a cultura pop em seu argumento de caráter lúdico e bem-humorado e simultaneamente subversivo e violento. O Mundo desses brinquedos, inicialmente produzidos no Japão e na China, surge como um mundo de plástico e vinil em meados dos anos 1990, e outros materiais vão sendo incorporados no decorrer da expansão mundial de sua produção e consumo. Personagens da política, ou ícones da sociedade e acontecimentos atuais são alguns dos principais alvos das narrativas desses objetos. Seus temas comumente pretendem a problematização de mitos e de heróis . Lida ainda, com a frágil linha divisória que existe entre infância e vida adulta. Ao se estudar o universo do Toy Art, ou Designer Toy, o colecionismo, o consumismo e a pós modernidade serão investigados, assim como características particulares de tribos urbanas. O que é Toy Art? Como essa plataforma artística e mercadológica se desenvolveu desde seu aparecimento? Que fronteiras delimitam seu território nas artes e no design? Como se configurou sua história? E como a Toy Art atua e se desenvolve no Brasil? / [en] This work is intended to clarify what is Toy Art. A new expressive and market support that comes from designers and illustrators minds, that contains elements of urban art, street art, graffiti and Hip Hop culture in itself. It also contains confrontational elements of an active youth against myths and dogmas crystallized by previous generations. A new medium that brings up the urban city into its narrative, the street with its violence and acid moods, which suggests a close relationship between art and pop culture in its humorous narrative, that is at the same time subversive and violent. The world of these toys, originally produced in Japan and China, appears as a vinyl and a plastic world in the mid-1990s, and other materials have been incorporated during the worldwide expansion of its production and consumption. Political characters, pop icons and day by day events are some of the main targets of these object s narratives. Its subjects often seek the overthrow of myths and heroes, and yet, it deals with the fragile dividing line between childhood and adulthood. While studying the universe of Toy Art or Designer Toy, collecting, consumerism and post-modernism will be investigated, as well as particular characteristics of urban tribes. What is Toy Art? How this artistic and marketing platform developed since their appearance? What borders delimit its territory in the arts and design? How to set up its story? And how Toy Art operates and develops in Brazil?

En definition av kreativitet kan beskrivas som en förmåga att hitta lösningar påproblem som inte ännu har en färdig lösning. Att tillhandahålla en förmåga äratt veta hur du går tillväga och en sådan går att utveckla, öva in och träna upp,det gäller bara att veta hur. Ett problem dyker som oftast upp när en processredan är igång och i ett tillstånd av ovetskap kan det kännas som att ingenlösning duger. En grafisk designer är beroende av sitt kreativa tänkande ochutan det skulle dess arbete inte fungera. Frågan är då hur en grafisk designer tarsig ur en kreativ svacka, när förmågan av att finna en lösning inte är tillräckligoch då kreativiteten känns som bortblåst? Hur går man tillväga och finns detnågra generella metoder att anamma? Detta är frågor som besvarats i mitt arbeteutifrån insamlad fakta. Intervjuerna och analyserna som utförts ligger till grundför resultatet och presenteras här i form av 6 olika teman: Träna, Tid, Paus,Hjälp, Kämpa och Självkännedom. / A definition of creativity can be described as an ability to find solutions toproblems that do not yet have an answer. To provide an ability is to know howto go about it and such can be developed through practice and training, you onlymust know how. A problem usually appears while in a process and in a state ofignorance, it may even seem that no solution is good enough. Graphic designersare dependent on their creative thinking and it would be damaging, career wise,if this ability would disappear. The question then is how graphic designers takesthemselves out of a creative dip? When the ability to find a solution is notsufficient and when the creative way of thinking is blocked, how do you handleit, when in doubt, and what general proceedings is there to embrace? These arequestions answered in my work based on collected facts. The interviews andanalyzes carried out from the basis for the results and are presented here in formof 6 different themes: Training, Time, Pause, Help, Fight and Self-awareness.

[pt] Esta tese parte da premissa que os ambientes de convergência, construídos a partir da tecnologia digital, estão afetando a disciplina de fotografia nos cursos de Design e, por conseqüência, interferindo nos processos de aprendizagem e na formação do designer. Esta investigação visa compreender o que os professores entendem por disciplina de fotografia, e, apropriando-se das novas tecnologias, que estratégias eles usam para disseminar o conhecimento entre os alunos. A pesquisa iniciou com uma pequena digressão sobre a fotografia na contemporaneidade e sobre a linguagem fotográfica, além de um levantamento sobre a disciplina de fotografia nos cursos de Design da PUC- Rio e da Univille, analisando as matrizes curriculares, ementas e percursos metodológicos. Foram também realizadas entrevistas com os professores que ministram esta disciplina, com o objetivo de colher e categorizar dados, os quais foram submetidos à técnica Análise do Conteúdo sob o enfoque dos lugares da imagem, contribuindo com a percepção sobre o papel que a fotografia desempenha em um diferente cenário tecnológico e na formação do designer nos cursos de Design da PUC- Rio e da Univille. / [en] This thesis assumes that the environments of convergence, constructed from digital technology, are affecting the discipline of Photography courses in design and consequently interfering in the processes of learning and training of the designer. This research aims to understand what teachers mean by the discipline of Photography, and appropriating the new technologies, what strategies they use to disseminate knowledge among students. The research began with a small digression on contemporary photography and the photographic language, and a survey of the discipline of Photography in the courses of Design at PUC-Rio and Univille analyzing the curricular content, menus and methodological tracks. We also conducted interviews with teachers who teach this course in order to collect and categorize data, which were submitted to the content analysis technique from the standpoint of image sites, contributing to the perception of the role that photography plays in a different technological scenery and in the designer training in the courses of Design at PUC-Rio and Univille.

A partir do século passado a joalheria sofreu uma grande transformação nos valores construídos em torno da joia comumente entendida como ornamento confeccionado em material precioso. O objetivo desta pesquisa foi descrever o perfil de autores de joias de Porto Alegre e seus processos criativos, posicionando seus campos de atuação dentro de categorias da joalheria (Alta Joalheria, Joalheria de Autor, Joalheria de Arte). Na revisão de literatura são descritas as dinâmicas da joalheria a partir do século XX e uma abordagem sobre processos criativos referindo-se a requisitos e fenômenos necessários para a ocorrência da criatividade. Foram entrevistados dez autores reconhecidos na área da joia, sobre suas trajetórias profissionais, seus processos de trabalho e sua visão sobre os seus campos de atuação. Observou-se que os processos criativos entre os autores entrevistados se assemelham na prática entre o campo do design e o das artes. Por outro lado, o uso da nomenclatura “design” foi considerado pelos entrevistados com certa ressalva pelo fato de não possuírem graduação nesse campo. Ficou a percepção de que o produto joia ainda não recebe um claro entendimento como sendo um produto de design. Os campos de atuação que os entrevistados foram classificados neste trabalho diferiram dos campos expressados pelos mesmos. Entretanto, é indiscutível a expressão pessoal observada em seus produtos, característica do campo das artes, mesmo naqueles não inseridos nesse campo. Neste aspecto fica também fortemente identificada a aproximação dos campos da arte e do design na criação da joia. / From the last century jewelry has undergone a major transformation in the values built around the jewel commonly perceived as ornaments made of precious material. The aim of this study was describe the profile of authors of jewels of Porto Alegre and their creative processes analyzing their expertise fields within categories of jewelry (High Jewelry, Author Jewelry, Art Jewelry). On literature review are described the dynamics of jewelry from the twentieth century and an approach to creative process in relation to the requirements and necessary phenomena to the creativity occurrence. Ten recognized authors in jewels were interviewed, about their careers, their work processes and its self-definition of their expertise field. It was observed that the creative processes among the interviewed authors were similar between the field of design and of arts. On the other hand, the use of the nomenclature "design" was regarded by interviewed with certain safeguard because they have no degree in this field. Remains the perception that product jewel does not receive a clear understanding as being a product of design. The fields of action that the interviewed were classified in this study differed from the fields expressed by them. However, it is certain the personal expression observed in its products, a characteristic of the field of the arts, even in those not entered into this field. This aspect is also strongly identified the approximation of the fields of art and design in the creation of the jewel.

A investigação de requisitos de projeto é uma atividade essencial da prática do design, associada a configuração do problema de projeto. Contudo, a técnica para esta atividade é muitas vezes desafiadora para os designers que possuem uma orientação para a resolução de problemas ao invés da configuração dos mesmos. Identificar todos os requisitos durante o estágio inicial de um projeto, seria o cenário ideal de trabalho para um designer. É amplamente aceito que a natureza do processo de design ocorre através da co-evolução do problema-solução, o que indica a existência da redefinição de requisitos durante o curso de um projeto. Entretanto, requisitos constantemente redefinidos em um projeto podem ser prejudiciais tanto na perspectiva do designer quanto do seu cliente, pois afetam na gestão do projeto e desgastam relação entre os envolvidos. Com o objetivo de compreender melhor este fenômeno e as suas causas, esta pesquisa, portanto, investigou como os designers de comunicação visual lidam com os requisitos de projeto, e com as suas respectivas mudanças durante o curso de um processo O método utilizado foi baseado no protocolo de Haug (2015), que investigou o mesmo tema, mas com designers de produto. Nove entrevistas foram realizadas com diferentes designers, que tiveram áudio digitalmente gravado, e posteriormente foram transcritas e analisadas. Como resultado, foi constatada a aplicabilidade do protocolo de Haug (2015) em design de comunicação visual, a descoberta de relações entre as categorias de mudanças de requisitos, e o desenvolvimento de duas ferramentas para auxiliarem o designer a compreender o seu processo de trabalho, e como adotar uma estratégia adequada para desempenhar o seu processo de trabalho de acordo com o seu próprio perfil e o do seu cliente. / The investigation of project requirementes is an essencial task in design activity, also associated with problem setting. However this technique is often challenging for designers, wich are problem solving oriented instead of problem setting. The identification of all project requirements at the biginning of a project would be the ideal scenario for a designer. Nevertheless design activity is more like the evolution of problem-solution, pointing that project requirements are redefined during a design process. Requiremetns redefinitions during a design process, can be harmful for both designer and his client, because it affects their project managment and also their relationship. Aiming to better understand this phenomena and it’s causes, this research investigated how visual communication designers work performing the elicitation of project requirements and deal with requirement redefinition during their projects. The method used was based on Haug’s (2015) protocol, who investigated the same subject, but with product designers. Nine designers were interviewed with the audio digitally recorder, and afterwards all interviews were transcripted and analyzed. As a result, it was found that Haug’s (2015) protocol was applicable to visual communication design, a connection between the categorys of changing project requirements was drawn, and tools were developed to help designers decide for a process strategy between the different client ant their own profiles.

Os valores e a cultura dos designers fazem parte do processo projetual e podem ser considerados de extrema relevância, visto que a cultura do designer pode ser uma fonte de inovação e de criatividade no decorrer do processo projetual do design. Este trabalho aborda o papel das referências culturais do designer gráfico no seu processo de trabalho. Busca descrever como os designers gráficos atuantes no estado do Rio Grande do Sul, mais precisamente na cidade de Porto Alegre, percebem o efeito de suas atividades culturais e de seu ambiente cultural em seu repertório e na sua prática projetual. O estudo busca caracterizar a relação entre a cultura do designer e a prática de design gráfico, identificar a presença do repertório cultural no discurso dos designers gráficos e identificar os fatores que emergem como relevantes no discurso dos designers gráficos. Para isso foram realizadas entrevistas com seis designers gráficos atuantes em Porto Alegre. A análise das entrevistas sugere que, em todos os casos, o desenvolvimento profissional está relacionado com o repertório cultural, ficando claro o quanto esses designers reconhecem que sua atividade profissional é afetada por seu repertório e ambiente cultural. Foram identificados sete fatores que emergem como relevantes no discurso dos designers gráficos e que podem explicar suas trajetórias profissionais: formação orientada a uma profissão criativa desde a infância; busca por uma atividade criativa; influência das artes plásticas; conhecimento de outras culturas (viagens, história); aprendizagem por meio de troca com colegas experientes; ampliação constante do repertório (eventos culturais, cursos); e relacionamento com clientes. / Values and culture of designers are part of design process and can be considered extremely relevant, since a culture of designer can be a source of innovation and creativity during design process of design. This study approaches the role of cultural references of graphic designer in their work process. Search describe how graphic designers actants in Rio Grande do Sul state, more precisely in the city of Porto Alegre, perceived the effect of their cultural activities and their cultural environment in their repertoire and their design practice. This study aims to characterize the relationship between culture of design and graphic design practice, identify presence of cultural repertoire in graphic designers' discourse and identify factors that emerge as relevant in the discourse of graphic designers. For that interviews with six graphic designers actants in Porto Alegre. Analysis of interviews showed that, in all cases, the professional development is related with cultural repertoire, becoming clear how much these designers recognize that their professional activity is affected by your repertoire and cultural environment. Seven factors were identified that emerge as relevant in the graphic designers’ discourse and may explain their professional trajectories: formation oriented to creative profession since childhood; search for creative activity; influence of visual arts; knowledge of other cultures (travel, history); learning through exchanges with experienced colleagues; constantly expanding repertoire (cultural events, courses); and customer relationships.

Made available in DSpace on 2015-08-18T17:47:24Z (GMT). No. of bitstreams: 1 Rui Sergio Dias Alao.pdf: 1652035 bytes, checksum: 7184f2365c15878acef5f9af24cb3131 (MD5) Previous issue date: 2009-01-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho investiga uma proposta projetual de design que possa incorporar a dinâmica de fenômenos emergentes. Através da noção de emergência no contexto dos sistemas complexos adaptativos e da noção de metadesign, objetiva pensar um projeto que possa viabilizar o papel do design como o de um profissional que pensa problemas de caráter sistêmico em nossa sociedade. Desse modo, procura-se apontar para novas possibilidades para a concepção de projeto, bem como sugerir novos tipos de articulação entre design e sociedade..