Made available in DSpace on 2016-04-29T14:23:37Z (GMT). No. of bitstreams: 1 Felipe Neves de Almeida.pdf: 4362157 bytes, checksum: e1e167b18d2cb044bf635f82cd169ad3 (MD5) Previous issue date: 2015-09-10 / This dissertation approaches the problem of implementing an educational project using a game with no clear educational goals or characteristics. It s a qualitative work based on a case study. Four methods of applying games in education have been identified and several projects using one of these methods have been analyzed. The goal of this dissertation is to implement and analyze an educational project that uses said method. This work is based on know authors of the field like Edgar Morin, Jean Piaget, Lev Vygotsky, Burrhus Skinner, Jerome Bruner and David Ausubel and on the field of games applied to education there are Barbi Honeycutt, John Hopson, Ricardo Mena, Brett Shelton e Eric Zimmerman. A modern vision about traditional theories. The analyses of educational projects and theories is used to formulate a teaching plan that is applied to high school students. This case study confirms the dissertation hypothesis: Experiences that balance focus on educational content and ludic elements result in greater meaningful learning, therefore increasing the effectiveness of the learning process / A presente dissertação aborda a implementação de um jogo sem características e objetivos claramente educacionais em um processo educacional. É uma pesquisa de caráter qualitativo embasada num estudo de caso. Foram identificados quatro métodos de se utilizar jogos na educação e analisou-se uma série de projetos que utilizam esses métodos. O objetivo dessa dissertação é implementar e analisar um projeto educacional utilizando um desses métodos. A dissertação tem base em teóricos conhecidos da área como Edgar Morin, Jean Piaget, Lev Vygotsky, Burrhus Skinner, Jerome Bruner e David Ausubel e no campo dos jogos para a educação utiliza Barbi Honeycutt, John Hopson, Ricardo Mena, Brett Shelton e Eric Zimmerman. Uma visão moderna sobre autores clássicos. Essa análise de projetos e teorias educacionais é utilizada na formulação de um plano de aula que foi aplicado em alunos do sétimo ao nono ano do ensino fundamental. A análise do caso confirma a hipótese dessa dissertação: experiências que equilibram o foco entre conteúdo educacional e elementos lúdicos resultam em uma aprendizagem mais significativa, potencializando o processo de ensino-aprendizagem

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-10-11T16:17:07Z No. of bitstreams: 1 Mariana Rost_.pdf: 1317779 bytes, checksum: 370b5784aeb1c758e3cac3a3342974f6 (MD5) / Made available in DSpace on 2016-10-11T16:17:07Z (GMT). No. of bitstreams: 1 Mariana Rost_.pdf: 1317779 bytes, checksum: 370b5784aeb1c758e3cac3a3342974f6 (MD5) Previous issue date: 2016-08-30 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação focaliza as interações no CAM4, uma plataforma de pornografia live streaming, que consiste em transmissões ao vivo via webcam feitas por pessoas que se apresentam em atividade sexual com a possibilidade de quem as assiste interagir com elas e entre si através de um bate-papo alocado ao lado da caixa de vídeo. As práticas sexuais são negociadas por quem se apresenta e por quem assiste mediante o pagamento de gorjetas que operam desde metas distribuídas em torno de práticas particulares. Através de uma etnografia dos usos das mídias digitais, analiso o lugar da sexualidade, as noções de erotismo e a circulação de atributos de gênero nas negociações feitas nas transmissões do site. Interessa compreender as dinâmicas desse ambiente que produz e circula material pornográfico em um contexto de novas possibilidades tecnológicas e de busca pelo autêntico. Assim, identifico os mecanismos através dos quais a pornografia live streaming se organiza e como eles se articulam e concorrem na produção da diferença e das tecnologias de gênero e sexo. Também busco examinar como o dinheiro, os sex toys e os artefatos tecnológicos mobilizam formas específicas de obter prazer. Finalmente, procuro compreender como essa modalidade de pornografia pode se distribuir em investimentos políticos no campo das relações de gênero e sexualidade. / This Master's theses focuses on the negotiations on CAM4, a live streaming pornography website. This type of pornography consists of sharing live sexual activities over a webcam with the possibility of interaction between those who watch and the person on the video through an online chat beside the video box. The sexual practices are negotiated with tips that participants pay in exchange for specific activities. Through an ethnography about the use of digital media, I analyze the role of sexuality, the notions of eroticism and the circulation of gender attributes on the negotiations made in the transmissions on the website. I am interested in the dynamics of this environment that produces and circulates pornographic material in a context of the pursuit of the authenticity and new technological possibilities. Thus, I identify the mechanisms by which live streaming pornography is organized and how they compete in the production of difference as well as gender and sex technologies. I also aim to examine how money, sex toys and technological artifacts mobilize specific ways to have pleasure. Finally, I seek to understand how this type of pornography can be distributed in political actions in the field of gender relations and sexuality.

Esta tese visa a identificar os aspectos projetivos, tecnológicos e imagéticos, atuantes nas tendências construtivas e concretas das artes visuais, em sua relação com as teorias do design. Esta relação é mediada pelas tecnologias da imagem em contínua evolução, principalmente, a partir do início do século XX. No Brasil, na segunda metade do século XX, os artistas e teóricos do Movimento Concreto propuseram uma arte industrial e ligada aos processos de comunicação, o que proporcionou uma maior aproximação entre as artes visuais e o design, aproximação esta também possibilitada pelas imagens tecnológicas e computacionais, abrindo a contemporaneidade artística no Brasil. O objetivo deste trabalho é entender essa transformação na qual as tecnologias das imagens causam modificações nos processos de criação artísticos e de design, adotando como tese que os meios digitais, na atualidade, ampliam as potencialidades criativas na realização de projetos e as aproximações entre estes campos do conhecimento. / The main objective of this thesis is to identify projective, technological and pictorial aspects that influence the constructive and concrete trends of visual arts within its connection with design theories. Such connection is mediated by image-related technologies that are in continuous evolution, mainly since the beginning of the 20th century. In Brazil, during the second half of the 20th century, artists and theorists of the Concrete Movement proposed an approach to view art that was both industrial and connected with communication processes. Such approach was further enhanced by technological and computational images, effectively determining the beginning of the contemporary era for the arts in Brazil. The goal of this work is to understand this transformation in which image-related technologies lead to modifications in the creative processes of art and design. We argue that current digital media enhance the creative potential in the development of projects along with a closer interaction/connection between art and design.

Sonder is an exploration of the relationship between digital media and graphic design through the creation of print and digital publications. At it’s very foundation, Sonder is a travel magazine with both a physical print publication and a digital publication designed for a tablet. It includes photography, articles, poetry, and travel tips. The print and the digital versions contain the same content, but explore different methods of presentation.

Mestrado em Arte Multimédia / A presente investigação realizou-se a partir da consciência da importância das novas ferramentas de modelação digitais, associadas a um alargamento da construção e percepção da experiência da tridimensionalidade, como atesta a quantidade de exemplos que remetem para novas possibilidades de tradução da matéria para a escultura. Intentou-se abordar as tendências estéticas e as potencialidades interactivas, implementadas no território da escultura pelas novas tecnologias multimédia, que carecem agora de uma recolocação dos conceitos que levam à forma, uma vez que a percepção da matéria e do espaço envolvente, tridimensionais, se alterou. Escultura Multimédia serviu assim para fazer um levantamento das tecnologias e procedimentos levados a cabo pelo escultor, na presente era digital, ajudando a rever fundamentos e estética, decorrentes do seu interesse pela tecnologia e ciência que se aglutina ao actual pensamento artístico. Demarcando a forma como o espaço e o tempo digitais interferem na ideia de construção da obra, analisaram-se os processos pelos quais, se investiga hoje, o meio virtual e as tecnologias subjacentes como as de aquisição de dados exteriores ao computador, de acesso, de imersão e ainda, as tecnologias de output, que possibilitam a materialização física da forma gerada no ambiente virtual. O presente documento apresenta e discute algumas das principais questões em torno destas propostas, pretendendo estimular o pensamento crítico nesta área. / The present study emerged from the awareness of the importance of the new digital modelling tools, which are associated to an enlargement of both the construction and perception of the three-dimensional experience, as expressed by the quantity and importance of works that refer to new possibilities for sculpture. We tried to investigate the aesthetic tendencies and the interactive potential, implemented in the sculptural field by new multimedia technologies, which need a reorganization of concepts related to form, due to changes in perception of three-dimensional space and matter has changed. The main objective of Multimedia Sculpture was to make an assessment of the processes and technologies, used by sculptors in the present digital era, helping to understand concepts and aesthetics, originated by their technologic and scientific interests, which are added to the actual artistic thinking. Studying the way digital space and time interfere with the work s conception, we analysed the processes that explore the virtual medium and their related technologies such as: external data acquisition by a computer, data access and immersion, and also output technologies, which enable the materialization of computer generated works. This document introduces and discusses some of the main questions concerning those proposals, with the intent to stimulate critic thinking in the field.

American Indian and Alaska Native (AI/AN) youth are disproportionally burdened by high rates of sexually transmitted infections and teen pregnancy, heightening their need for sexual health interventions that are aligned to their unique culture and social context. Media technologies, including the Internet, cell phones, and video games, offer new avenues for reaching adolescents on a wide range of sensitive health topics. While several studies have informed the development of technology-based interventions targeting mainstream youth, no such data have been reported for AI/AN youth. To fill this gap, I: a) quantified media technology use in a select group of AI/AN teens and young adults living in Pacific Northwest tribes and urban communities; b) identified patterns in their health information-seeking and media preferences; and c) worked with local tribes and partners to develop recommendations for designing culturally-appropriate technology-based interventions targeting Native adolescents. This research included: a) an anonymous, paper-based survey of over 400 AI/AN youths age 13-21 years; b) a systematic review of technology-based sexual health interventions; and c) a variety of community-based participatory research strategies to analyze findings, prioritize options, and generate recommendations for designing interventions that align with the culture, needs, and organizational capacities of the tribes in the Pacific Northwest. Technology use was exceptionally common and diverse among survey respondents, mirroring patterns reported by teens in the general population. Seventy-five percent of AI/AN youth reported using the Internet, 78% reported using cell phones, and 36% reported playing video games on a daily or weekly basis. Thirty-five percent reported that they would feel most comfortable getting sexual health information from the Internet, and 44% reported having done so in the past. Youth expressed interest in a wide array of interactive media features, and culturally-specific content that holistically encompassed their wide-ranging health interests and concerns. Tribal health educators expressed particular interest in adapting Internet-based skill-building modules and informational websites, and teens expressed interest in websites and videos. These findings are now being used by the Northwest Portland Area Indian Health Board to inform the development and adaptation of culturally-appropriate interventions targeting AI/AN youth in the Pacific Northwest.

This thesis examines two works from different mediums, the short story “How to Tell a True War Story” by Tim O’Brien and the video game Battlefield 1, to compare how each constructs empathy using virtual reality and mimetic communication between audience and the work. The thesis draws from both digital media studies and affect theory to construct a nuanced view of how empathy functions in the works. The body responds to empathy physically. As social creatures, humans feel the emotions of those around them, even if those around them are virtually constructed. In other words, the thesis will explore how video games have been used historically and what their effects are on gamers, especially gamers’ bodies and emotional responses to the constructed virtual reality. This work aims to show how the lines of fiction and reality become blurred to establish empathy within a narrative and virtual reality space.

As an alternative to print media, digital media make us newly aware of the materiality of experimental poetic texts and require us to account for their media-specific differences. Although already several theoretical models have been put forward to define these differences, so far few poems have been analyzed in terms of their media-specific textual materiality. This thesis seeks to fill this gap in the applied media-specific analysis of experimental poetry. It combines traditional close reading with a media-specific approach in order to investigate the relationship between the physical characteristics and signifying strategies of four experimental poetic texts in various digital and non-digital media. It critically interrogates the specific use of the given medium in each poem, and illustrates that their respective textual materiality cannot be specified in advance based on general assumptions concerning the medium in question. A digital poem is not inherently more innovative than a non-digital poem. Rather, a poem is perceived as innovative if it resists conventional reading strategies by establishing a particularly complex, dynamic, and effectively anomalous sense of textual materiality, which necessarily only emerges from the direct interplay among text, object, and reader.

In this thesis I explore the relationship between the mobile phone and its user and argue that this relationship is crucial in merging the contexts of public and private, the physical and virtual, imagined and real, past and present, author and audience. I view this relationship as crucial to understanding the shift in the role of the audience from passive receivers of content to active producers ('Mobile Produsers'). Further, I argue that the diverse contexts of mobile content production and the definition of the content itself have become the central means by which mobile phone practices are emerging. I draw on anthropology, social science and media studies in order to explore the impact of mobile contexts, content, and use on identity. I propose that this approach allows for a new understanding of mobile practices as a form of spectacle, especially what I refer to as the spectacle of the self. Produsership theory informs an understanding of mobile practices, content production and performance, and the Bahktinian concept of carnival becomes a useful term in analysing the mobile as both performance and spectacle. Through an analysis of mobile content within cinematic culture, social interaction, and mixed media environments I consider the ways in which the mobile functions not only as a tool for positioning the individual, but also as performing an integral part in a multi-user process of mobile content production. In this sense, mobile content can be understood as a map, and the mobile as a compass used by the produser to navigate the mobile?s diverse contexts. Furthermore, I demonstrate that mobile content is collectively constructed while being individually absorbed. It is reflective of both the context and its user and open to constant questioning and interpretation, which is then shared with others. Finally, this thesis explores the notion of being t/here as mode of participating with the mobile in time and space, where one's identity is distributed across virtual and physical spaces, simultaneously locating the user as both here and there (t/here).

Children use Internet for many reasons, such as playing on-line games, searching for information, downloading music and videos or doing homework. However, there is one interesting tendency that Internet has changed the boundary between the sender and the receiver. Children in this Internet age, they change their roles to become content providers. While they are blogging or uploading photos, they are processing “I media”. In the past, children invite their friends to their bedroom. They talk the secrets or playing games while they are in a parenting area. Today, ‘bedroom’ and ‘digital bedroom’ can be combined. Staying at home, and not going out, but by surfing the (world) of the web, both boys and girls of different ages are engaging in a kind of domestic or bedroom culture that take place in virtual space. In this study, children’s personal weblog may be seen as ‘heterotopias’, Michel Foucault (1986) proposed. This research concerned about children's use of blogs in their everyday life, attempted to learn children's digital bedroom culture through the analyses of all kinds of documents presented in children’s blogs, and to know how children gain identity through blogs.