A inclusão das pessoas com deficiência no mercado de trabalho pode ser um diferencial na qualidade de vida desses indivíduos, sendo que a participação de forma igualitária em sociedade, respeitando os direitos e obrigações ainda é um desafio. Diante disso, houve o surgimento de uma legislação mais voltada a inclusão, podendo citar a lei 8213, criada em 1991, a Lei de Cotas iniciou um processo de maior valorização dessa parte da população, em relação ao mercado de trabalho. O desafio das empresas não é simples, já que falamos de incluir uma parcela da população que, historicamente, foi socialmente marginalizada, muitas vezes se apresentando sem qualificação para ocupar os postos de trabalho. Esta tese apresenta o desenvolvimento de um sistema imersivo e a avaliação do mesmo focando na capacitação das pessoas com deficiência intelectual para inclusão laboral. A pesquisa é de cunho tecnológico-qualitativo, sendo que o objetivo principal é demonstrar como um sistema que se utiliza dos conceitos de Ambientes Imersivos pode através do processo de mediação, na perspectiva sócio-histórica, ajudar a capacitar e a eliminar barreiras no aprendizado laboral desses estudantes. O Ambiente Imersivo Solassist Virtual foi desenvolvido utilizando o motor de jogo UDK e validado em uma empresa participante da pesquisa. O estudo foi realizado com 11 alunos, com deficiência intelectual, parcela mais excluída do mercado de trabalho. O uso do sistema desenvolvido, acompanhado da análise das mediações, evidenciou categorias que demonstraram a viabilidade do uso, sendo uma Tecnologia Assistiva para sua inserção laboral. Este trabalho também apresenta contribuições para a Ciência da Computação através do desenvolvimento de um Ambiente Imersivo, projetado para possibilitar as mediações das pessoas com deficiência intelectual, visando sua inclusão laboral. / The inclusion of people with deficiency in the work market can be a differential in the life quality of these individuals, being the participation on an equal way in the society, respecting the rights and obligations is still a challenge. Before that, there was the emerging of a legislation turned more to the inclusion, we can cite the Law 8213, created in 1991, the Quotes' Law began a process of more valuation of this part of the population in relation to the work market. The challenge of the companies is not easy, as we talk about including an amount of the population that, historically, was socially marginalized, many times presenting without qualification to work on the jobs places. This thesis presents the development of an immersive system and its evaluation focusing on making people with intellectual deficiency able to the work inclusion. The research is technological-qualitative, and the main goal is to show how a system that uses the Immersive Environment concepts can, through the mediation process, in the social-historical perspective, help to make it able and to eliminate boundaries in these students' learning. The Virtual Solassist Immersive Environment was developed using an engine of an UDK game and it was validated in a company that participates in the research. The study was performed with 11 students, with intellectual deficiency, the most excluded amount of the work market. The usage of the developed system, followed by the analysis of the mediations, highlighted categories that showed the viability of its usage, being an Assistive Technology for its labor insertion. This paper also presents contributions to the Computer Science through the development of an Immersive Environment, projected to make possible the mediation of people with intellectual deficiency, aiming their labor inclusion.

虛擬實境技術作為一項內容呈現方式，在技術逐漸成熟到現今也逐漸被接枝於新聞內容上，沈浸新聞學（immersive journalism）也隨之誕生，而它最獨特臨場感（presence）特性也使得虛擬實境新聞能帶給閱聽者完全不同以往的閱讀體驗，然而虛擬實境的引進能否為數位化的新聞產業環境帶來利基，是現在新聞媒體仍在觀望的原因。故本研究設計 2（新聞呈現方式：有、無使用虛擬實境）x 2（新聞類型：軟新聞與硬新聞）的實驗架構，讓受測者（N = 121）以佩戴 Google cardboard 以及手機兩種方式體驗《紐約時報》發行的應用程式「NYTVR」裡兩種不同類型的新聞內容，結果發現使用不管哪種新聞類型的內容，使用虛擬實境技術體驗的組別都能夠提升閱聽者在看觀看完刺激物後的購買意願以及情緒，並且臨場感在這個體驗過程中具有中介效果，這些發現不僅為虛擬新聞研究領域帶來實證上的支持，更給予虛擬實境新聞應用於新聞實務上的立足點。

This thesis is located within the discourse of contemporary, participatory performance. It offers a cultural materialist reading of the relationship between neoliberal capitalism and identity, and its adjunct community, to consider the extent to which participatory performance might challenge the individualistic aspects of the neoliberal ideology. The thesis questions what it means to participate in capitalist democracy in the contemporary moment, interrogates how one might exercise participatory agency both within and outside the theatre space and contemplates the function of participatory performance in a period of democratic discontent. I argue that the case-studies contribute to creating communities of individuals thinking about how to develop capitalist democracy in a more egalitarian direction. The thesis primarily employs close performance analysis of nine case-studies that all occurred in the period 2013-2014. These analyses occur across three chapters that each address a differing form of participation. Chapter One considers the significance of the re-presentation of performer acts of participation within demarcated theatre spaces, challenging the concept of the successfully, aspiring neoliberal identity. Chapter Two focuses on acts of audience participation invited within conventional theatre auditoriums to defamiliarise one’s motivations for acting or not. And Chapter Three centres on immersive performance experiences in which the audience member becomes the art object, inviting them to recognise their indebtedness to others. The thread that coheres this broad cross-section of participatory performance practices is their desire to use the act of participation and the platform of performance to reconceive of what it means to do politics by using artistic and cultural means. Collectively, the case-studies advocate the need for continued co-operation with others and the on-going co-creation of meaning, which eliminates knowing, outcome and end-result, to challenge instrumental understandings of political progress. The thesis conclusion asserts this point by considering the shared theatrical techniques employed across the case-studies that destabilise binary modes of thinking to enhance their ethico-political potential. It also reflects on this argument in light of the election of a majority Conservative (neoliberal) government in 2015.

Os paradigmas da criação artística para a CAVE (CAVE Automatic Virtual Environment) ainda estão sendo elaborados pois, no âmbito da Realidade Virtual, é uma tecnologia recente e ainda bastante onerosa, fatores que dificultam sua disseminação. Ainda assim, algumas instituições possuem CAVEs para pesquisas artístico-culturais. Dentre elas, figura o centro de pesquisas Ars Electronica que, em parceria com o artista transmídia Maurice Benayoun, produziu em sua CAVE, cuja visitação é aberta ao público, a premiada obra World Skin. Com o intuito de situar o atual estado da arte das experimentações artísticas em CAVEs, esta obra mereceu análise detalhada de seus processos criativos e metodológicos. Nela, o autor investiga as reações cognitivas dos visitantes e propõe uma nova relação espaçocorporal dentro de um mundo virtual. A potencialidade artística da CAVE é grande e existe interesse dos artistas em explorá-la. As novas pesquisas e avanços tecnológicos apontam perspectivas de um maior acesso a este tipo de ambiente imersivo, consolidando-o como um prolífero suporte artístico. / The paradigms behind artistic creation for CAVE (CAVE Automatic Virtual Environment) are yet to be elaborate, since in the realm of Virtual Reality, this is a recent and expensive technology, which poses barriers to its own spreading. Even so, some institutions do have CAVEs for culture and artistic research. Among them, there\'s the research center Ars Electronica, which, in partnership with transmedia artist Maurice Benayoun, has produced in its CAVE (which is open for public visits), the award-winning work World Skin. With the objective of placing experimental artistic manifestations in CAVEs, this work has been deeply analyzed, concerning its creative processes and methods. The author evaluates the cognitive reactions of the visitors and proposes a new corporal-space relationship in a virtual world. The artistic potential behind a CAVE seems to be huge, and artists are willing to explore it. According to new researches and recent developed technologies, there will be a broader access to this kind of immersive environment, which might become a highly productive platform for artists.

La réalité virtuelle est une technologie qui voit ses applications s’étendre à de nombreux domaines (médical, automobile, etc.). Cette thèse se place dans le contexte des espaces virtuels complètement immersifs, et a pour but d’étudier les effets des deux principaux types d’interfaces proposés (manette avec 6 degrés de liberté, et système de suivi de doigts) sur l’expérience des utilisateurs, dans le cadre de la manipulation d’objets 3D. Nous nous intéressons à des paramètres tels que la facilité d’utilisation, la sensation d’immersion, la rapidité et la précision offertes... Pour cela, nous proposons des expériences évaluant ces paramètres à travers des tâches dont le succès est mesurable, et qui ne sont pas spécifiques à un domaine. Dans une première étude, nous nous intéressons aux tâches complexes d’ordre général, faisant appel à des compétences requises dans les manipulations quotidiennes, telles que le fait d’attraper, de relâcher, de translater, de tourner et de maintenir en équilibre des objets tout en se déplaçant. Nous affinons ensuite notre étude en observant les effets de ces interfaces sur les mouvements eux-mêmes, en les décomposant en degrés de liberté individuels et groupés. Enfin, nous testons l’applicabilité de notre système de manipulation directe dans le cadre d’une étude préliminaire sur l’utilisation de la réalité virtuelle pour le traitement de la maladie d’Alzheimer. Ces études analysent les propriétés de ces interfaces dans le but de fournir des indications aidant au choix de l’interface la plus appropriée pour des applications futures. / Virtual reality is a technology with applications in numerous fields (medical, automotive, etc.). This thesis focuses on immersive virtual spaces, and aims at studying the effects of the two major types of interfaces proposed (6 degree of freedom flystick, and finger-tracking system) on the user experience, and specifically for 3D object manipulation. We are interested in parameters such as ease of use, sense of presence, speed and precision offered. To do so, we design experiments to evaluate these parameters via tasks with measurable success, and which are not field specific.In a first experiment, we study complex general purpose tasks, combining skills required in everyday manipulations, such as grabbing, releasing, translating, rotating, and balancing objects while walking. We then refine our study by observing the effects of those interfaces on the movements themselves, by decomposing them into individual and grouped degrees of freedom. Lastly, we evaluate the applicability of our direct manipulation system in the context of a preliminary study on the use of virtual reality for the treatment of Alzheimer’s disease. These studies analyze the properties of these interfaces to provide guidelines to the choice of the most appropriate interface for future experiments.

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Den här expositionen visar mitt projekt från utbildningen Master i skådespelarkonst 2021-2023 på SKH i Stockholm. Uppsatsen heter "När vi ses" och den performativa delen "Hur gör vi med publikinsläppet?" Jag har som skådespelare och clown jobbat i många olika rum och med många olika publiköverenskommelser. Allt från scen-salong situationer där publiken vet exakt hur de ska bete sig och hur deras deltagande ser ut, till att spela för endast en person i en sjukhussäng eller i en liten roddbåt, där deltagandet tydligt måste förhandlas och kommuniceras. Jag har mött vuxna som är världsmästare i teateretikett, men inte kan svara på en fråga om den ställs från scenen, och jag har mött barn som är sjövilda förstagångsbesökare som har en intensiv dialog med oss på scenen. Jag är intresserad av dialogen mellan skådespelare och publik och av publikens delaktighet. Vilka normer och överenskommelser regleras det av? Hur påverkar rädslan att göra fel, bryta mot normen, upplevelsen av scenkonstverket? Begränsar den rädslan för skam det som är möjligt på teatern? Jag har också undrat över vilka roller publiken kan ha, vad i ett verk som kommunicerar denna roll, och om publiken kan byta roll i samma verk. I "Hur gör vi med publikinsläppet?" kan du läsa om arbetet med Eva och Margaretha, två halvmasker som båda är skådespelare men i vars konstnärsskap publiken spelar väldigt olika roller. / The essay is called "When we meet" and the performative part "How do we let the audience in?" As an actor and clown, I have worked in many different rooms and with many different audience agreements. Everything from stage-salon situations where the audience knows exactly how to behave and what their participation looks like, to playing for only one person in a hospital bed or in a small rowing boat, where participation must be clearly negotiated and communicated. I've met adults who are world masters of theater etiquette, but can't answer a question if asked from the stage, and I've met children who are wild first-timers who engage in intense dialogue with us on stage. I am interested in the dialogue between actors and audience and in audience participation. What standards and agreements are they regulated by? How does the fear of making a mistake, breaking the norm, affect the experience of the performance? Does that fear of shame limit what is possible in the theater? I have also wondered what roles the audience can have, what in a work communicates this role, and whether the audience can change roles in the same work. In "How do we let the audience in?" you can read about the work with Eva and Margaretha, two half-masks who are both actors but in whose artistry the audience plays very different roles.

Recent technological advances are radically changing the industrial landscape and driving a digital transformation of industry. This transformation presents several challenges for industrial companies, notably the urgent need to bridge a widening skill gap. In order to address the skill gaps, industrial companies are exploring the potential of the Metaverse as a tool for workforce training.  The Metaverse is a unique, 3D multi-user environment, blending physical and digital elements, thereby facilitating interaction between objects and individuals. Given these features, it possesses the capacity to facilitate immersive learning within industrial firms, offering realistic and interactive training experiences. However, there is a lack of research and understanding regarding the application of the Metaverse for workforce training in these contexts.  Thus, the objective of this study is to explore how the Metaverse can be used by industrial companies and identify the driving factors behind its adoption. To fulfill this purpose, an exploratory qualitative study was conducted, employing semi-structured in-depth interviews that are analyzed thematically.  The study’s primary contribution is a practice-oriented framework detailing the interplay between technology, management, and people; explaining how they combine to support immersive learning. The framework offers unique insights and practical implications for industrial practitioners. Critically, the study emphasizes the importance of effective change management for aligning these three elements, emphasizing that successful implementation goes beyond mere adoption of technology. The study finds that the Metaverse is best viewed as a complement to traditional physical training in industrial companies, identifying specific practical use-cases where the Metaverse can be utilized effectively.

The metaverse has seen increased usages in its capabilities as an educational tool by immersing users in virtual scenarios. This technology is inaccessible for user groups that require higher degrees of accessibility and personalization, as most metaverse implementations do not adjust to the user’s needs. One such group are individuals with Autism Spectrum Disorder (ASD), rendering them unable to use immersive learning to foster skills that enable independent living. To solve this issue, this thesis aims to employ design science to produce an artefact that answers the research question: ”How can machine learning-based adaptations to 3D-environments be integrated into existing virtual reality platforms in order to increase accessibility for users with ASD?”. By the use of literature studies along with personas supplied from a research project, four different user profiles were established to represent users with ASD. Requirements for the artefact to be produced were then established by exploring possible stakeholders affected by the artefact. Employing data generative techniques, a neural network was trained to predict how the virtual environment should be augmented given the user’s specific characteristics. This neural network was then integrated into a virtual environment set up via Unity, by use of participatory modelling. The resulting artefact was then evaluated against the established requirements, via an experiment that mirrors a typical morning routine meant to increase the person’s skills in independent living. The results of this evaluation found that the artefact could handle known user profiles with a high accuracy (87.7%). The artefact also proved effective in approximating what kind of aide should be presented for the unknown user profiles (8/10 cases). The use of modern development tooling also proved satisfactory in aiding developers to use the artefact to create accessible environments with ease. The artefact’s use of neural networks proved an effective way to model complex user groups, though further ethnographic studies and non-synthetic data is needed to validate this capability.