Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-06-29T19:52:27Z No. of bitstreams: 1 thiagoluizberzoinimachado.pdf: 2242060 bytes, checksum: e5be95a0a6b81848845c4066ec4da618 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T15:50:26Z (GMT) No. of bitstreams: 1 thiagoluizberzoinimachado.pdf: 2242060 bytes, checksum: e5be95a0a6b81848845c4066ec4da618 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T15:50:44Z (GMT) No. of bitstreams: 1 thiagoluizberzoinimachado.pdf: 2242060 bytes, checksum: e5be95a0a6b81848845c4066ec4da618 (MD5) / Made available in DSpace on 2016-07-13T15:50:44Z (GMT). No. of bitstreams: 1 thiagoluizberzoinimachado.pdf: 2242060 bytes, checksum: e5be95a0a6b81848845c4066ec4da618 (MD5) Previous issue date: 2012-03-30 / Utilizando como matriz midiática “Espectros – Um drama familiar” (Gengangere, 1881) de Henrik Ibsen, esta dissertação analisa a expansão do universo ficcional de uma peça teatral por diversas plataformas de mídia. A montagem da obra foi desenvolvida através da aplicação de estratégias transmídia com base nas explanações de Henry Jenkins e Stephen Dinehart, teóricos dessa nova forma de utilização da narrativa perante a era da “Cultura da Convergência”. O projeto apresentou ao espectador uma obra que possui vários “pontos de entrada” no universo ficcional da trama de Ibsen, acessíveis através de um conteúdo distribuído eletronicamente: vídeos, áudio-teatro, história em quadrinhos, um jornal fictício que contém informações sobre o programa da peça e um dossiê contra um dos personagens centrais da trama. A experiência também foi levada para um ambiente imersivo - o Second Life –, apresentando uma assembleia virtual que reuniu o elenco e o público atingido pela divulgação do evento nas redes sociais e sítio de hospedagem do material produzido. Com a aplicação dessa estratégia, o espectador é motivado a organizar mentalmente os fragmentos narrativos de situações pulverizadas através de canais de distribuições complementares, proporcionando a continuidade de imersão no universo ficcional mesmo após o término da experiência. / Using as a media-matrix “Ghosts – a family drama” (Gengangere, 1881) by Henrik Ibsen, this work analyzes the expansion of the fictional universe of a play by various media platforms. The composition of the play was developed through the application of strategies based on the explanations of Henry Jenkins and Stephen Dinehart, theorists of this new way of using the narrative according with the era of “Convergence Culture”. The project presented a work in which the viewer has multiple “entry points” into the fictional universe of Ibsen’s plot, accessible via electronically distributed content: videos, audio dramas, comic, a fictional newspaper which contains information about the program of the play and a dossier against one of the central characters of the plot. The experience was also taken to an immersive environment – the Second Life – featuring a virtual meeting that gathered the cast and the audience reached by the advertisement of this event through social networking and hosting website with the material produced. With the implementation of this strategy, the viewer is encouraged to mentally organize the narrative fragments of situations sprayed throughout additional distribution channels to provide continuous immersion in the fictional universe even the ends of the experiment.

The ability to view the world from multiple perspectives is essential for tackling complex, interconnected challenges. Yet conventional academic structures are designed to produce knowledge through ever-increasing specialization and compartmentalization. This fragmentation is often reinforced by tacit dualistic assumptions that prioritize linear thinking and abstract ways of knowing. Though the need for integrated approaches has been widely acknowledged, effective techniques for transcending disciplinary boundaries remain elusive. This thesis describes a practical strategy that uses immersive visualizations to cultivate transdisciplinary perspectives. It develops an enactive approach to cosmography, contending that processes of visualizing and interpreting the cosmos iteratively shape ‘views’ of the ‘world.’ The archetypal trope of the heavenly sphere is examined to demonstrate the significance of its interpretations in this history of ideas. Action research and mixed methods are employed to elucidate the theoretical considerations, cultural relevance, and practical consequences of this approach. The study begins with an investigation into the recurring appearance of the heavenly sphere across time, in which its embodied origins, metaphorical influence, and material embodiments are considered. Particular attention is given to how cosmographic tools and techniques have facilitated imaginary ‘flights’ through the heavens, from the ecstatic bird’s eye view of the shaman to the ‘Archimedean point’ of modern science. It then examines how these cosmographic practices have shaped cosmological beliefs and paradigmatic assumptions. Next, the practical utility of this approach is demonstrated through the development of cosmographic hermeneutics, a technique using visual heuristics to interpret cosmic models from transdisciplinary world views. Finally, the performative practice of cosmotroping is described, in which cosmographic hermeneutics are applied to re-imagine the ancient dream of the transcendent ‘cosmic journey’ within immersive vision theaters. This study concludes that the re-emergence of the heavenly sphere within the contemporary Digital Universe Atlas provides a leverage point for illuminating the complexity of knowledge production processes. It is claimed that this research has produced a practical strategy for demonstrating that the ultimate Archimedean point is the ability to recognize the limits of our own knowledge, a crucial first step in cultivating much-needed multi-perspectival and paradoxical spherical thinking.

L’objectif de cette thèse est d’étudier l’influence du contexte sur le comportement alimentaire ; le contexte incluant les variables environnementales et celles issues du consommateur. A cette fin, une méthode d’immersion à l’aide d’éléments physiques a été utilisée. Cette méthode consiste à évoquer une situation réaliste à partir de quelques éléments de mobilier dans un laboratoire. Des bars immersifs ont ainsi été créés selon le concept de « boire un verre dans un bar ». Cinq études ont été mises en place pour étudier le contexte. L’originalité de l’approche théorique est de ne pas considérer l’aliment comme une variable contextuelle mais comme étant le centre de la relation entre le consommateur et l’environnement.D’un point de vue méthodologique, les résultats montrent que les bars immersifs sont un outil flexible favorisant l’évocation d’une situation réaliste tout en permettant d’étudier à la fois les effets de l’intégration d’un ensemble de variables contextuelles et le poids relatif des variables les unes par rapport aux autres. D’un point de vue théorique, les résultats soulignent que lorsque l’ensemble des variables contextuelles présentes interagissent pour définir ce que nous avons appelé un « moment de consommation ». Lorsqu’un produit se trouve dans ce « moment de consommation », l’expérience qu’en a le consommateur est modulée par des influences contextuelles affectives, sémantiques et perceptives.Cette thèse conclut que l’acte de consommation alimentaire est le reflet de l’expérience qu’ont les consommateurs d’un produit au « moment de consommation ». Plus que simplement comprendre la relation entre le consommateur et le produit, il faut maintenant comprendre cette relation comme étant au centre d’interactions complexes avec le contexte / The overall aim of the present thesis is to study contextual influences on food behaviour (including variables coming from the environment and from the consumer). To this purpose, an immersive method using a space with physical elements was used, in order to evoke a realistic situation within a laboratory setting. Here, the method consisted in designing an immersive bar evoking the situation of “having a drink in a bar”. Two variants of the bar were created and five studies were implemented in these spaces to study how context influences food choices and evaluation. Our approach consisted in taking the product as central in the link between the consumer and the environment and not as a contextual variable itself.From a methodological point of view, the results show that immersive bars are a flexible tool evoking a realistic situation. They can be used to study the effects of an integrated set of contextual factors and to determine the relative weight of each of these factors. From a theoretical point of view, the results underscore that in a specific situation, contextual variables are interacting together to create what we called a “moment of consumption”. When a product is consumed in such a “moment of consumption”, consumers’ product experience is modulated by perceptive, affective and semantic contextual influences.This work concludes that the act of food consumption reflects consumers’ product experience in a “moment of consumption”. Understanding the link between consumer and product cannot be done by appealing only to these two terms but needs to be explained as part of a complex set of contextual interactions

This written portion of my thesis documents how I, as director, conceptualized, devised and staged an immersive adaptation of August Strindberg’s A Dream Play, with the support of a large team of collaborators including: assistant directors, dramaturgs, designers, stage managers, and actors. In this document I attempt to synthesize the discoveries I made in this process regarding the challenges and experience of directing immersive theater, including the importance of giving up directorial control and relying on my collaborators as partners in the creation of the production. I begin with an introduction to the research I conducted into the field of immersive theater as well as my research on the work of August Strindberg, with a specific emphasis on the themes and context of A Dream Play. I then describe how I led my creative team through the process of designing a devised immersive theater production by encouraging open communication and fostering an atmosphere of trust. I also discuss the casting process and my efforts to establish an autonomous ensemble by allowing the actors to choose their own parts, write their own scripts, and devise their own scenes. I reflect on how I navigated the unpredictable nature of immersive theater, through a careful balance between detailed planning and free exploration, all the while embracing the possibility of failure as an expected part of the process. Finally, I attempt to assess the success of the production through examination of the impact it had on its audiences based on my own personal observations, as well as feedback collected through formal methods of survey.

La presente tesis tiene como tema la influencia del periodismo de inmersión en la televisión peruana en época de pandemia. El objetivo general es describir los componentes del periodismo de inmersión que se encuentran presentes en los reportajes sobre el Covid-19 presentados en el programa Al Sexto Día a través de su secuencia televisiva En Carne Propia (marzo – agosto 2020). El método seguido fue el de análisis de contenido de los reportajes emitidos entre el 15 de marzo del 2020 al 30 de agosto del 2020. Se delimitó dicho periodo por su nivel de coyuntura periodística. Se sabe que el 15 de marzo del 2020 fue la fecha que el presidente de la nación, Martin Vizcarra, decretó el Estado de Emergencia en el país y el 30 de agosto del 2020 fue la fecha de cese de la sexta extensión del Estado de Emergencia. El principal hallazgo es que los reportajes tienen una innovadora forma de contar una historia a través del involucramiento del reportero. Asimismo, utilizan recursos y estrategias tales como la participación en los hechos investigados y la suplantación de la personalidad en donde hacen ver a los reportajes desde otra perspectiva. / The subject of this thesis is the influence of immersion journalism on Peruvian television in times of pandemic. The general objective is to describe the components of immersive journalism that are present in the reports on Covid-19 presented in the Al Sexto Día program through its television sequence En Carne Propia (March - August 2020). The method followed was the content analysis of the reports issued between March 15, 2020 to August 30, 2020. This period was delimited by its level of journalistic situation. It is known that March 15, 2020 was the date that the nation's president, Martin Vizcarra, decreed the State of Emergency in the country and August 30, 2020 was the date of cessation of the sixth extension of the State of Emergency. The main finding is that reporting has an innovative way of telling a story through the involvement of the reporter. Likewise, they use resources and strategies such as participation in the investigated facts and the impersonation of personality where they make the reports look from another perspective. / Tesis

Una nueva normalidad se está presentando este año, dada a la pandemia vivida por la enfermedad del coronavirus; forzando a la sociedad a lidiar con medidas de respuesta para reactivar aquellos rubros impactados negativamente por el virus, donde el sector construcción se ve involucrado; afectando directamente a una de sus fases más importantes, la preventa inmobiliaria, debido a la rentabilidad que aporta al proyecto. Por lo tanto, es hora de una transformación para contemplar un mejor escenario, siendo un momento clave para la revolución digital y el empleo de herramientas tecnológicas como medios de venta. Por consiguiente; el presente artículo elabora una guía técnica implementando herramientas tecnológicas para la creación de una experiencia inmersiva que permita al cliente final conocer el proyecto a ejecutar de una manera más realista e interactiva. Esta guía se contempla en pasos para el responsable a modelar la experiencia y pasos para el cliente final que desee sumergirse en la experiencia. Finalmente; la validación del aporte se da, previamente, con un juicio de expertos resaltando las necesidades del cliente final para, con ello, contemplar los parámetros de ejecución de los modelos y sus funcionalidades de interacción. / A new normality is emerging this year, due to the current pandemic due to the coronavirus disease; forcing society to take response measures to reactivate those areas negatively impacted by the virus, where the construction sector is involved; directly affecting one of its most important phases, the real estate pre-sale, due to the profitability it brings to the project. Therefore, it is time for a transformation to contemplate a better stage, being a key moment for the digital revolution and the use of technological tools as means of sale. Therefore, this article prepares a technical guide implementing technological tools for the creation of an immersive experience that allows the final client to know the project to be executed in a more realistic and interactive way. This guide is considered in steps for the person responsible to model the experience and steps for the final client who wishes to immerse themselves in the experience. Finally, the validation of the contribution is given, previously, with an expert judgment highlighting the needs of the final client to contemplate the execution parameters of the models and their interaction functionalities. / Trabajo de investigación

Detta examensarbete innefattar en utforskning om mitt arbete med immersivt ljud och hur det har påverkat min konstnärliga praktik som musikproducent. Utforskningen görs genom en analys av tre delstudier bestående av en 360-video som spelades in i S:t Jakobskyrkan i Stockholm, en VR upplevelse i en virtuell kopia av Nathan Milsteinsalen på Kungliga Musikhögskolan, samt en komposition som producerades med Dolby Atmos. Slutsatsen som dras är att arbetet har påverkat min konstnärliga praktik genom att ge mig nya insikter på komponerande, inspelning, och mixning. Slutligen ges förslag på fortsatta studier om audiovisuella metoder för immersiv musikproduktion samt nya infallsvinklar på stereomixning som är informerade av immersivt ljud. / This thesis examines how working with immersive audio has affected my artistic practice as a music producer. It does so by examining the insights gained during the production of three case studies consisting of a 360-video recorded at Saint James’s Church in Stockholm, Sweden, a Virtual Reality (VR) experience in a 3D replica of Nathan Milstein Hall at the Royal College of Music in Stockholm, as well as a composition produced using Dolby Atmos. The paper concludes that working with the case studies has changed my artistic practice by leading to new insights in the areas of composing, recording, and mixing. The paper also suggests future studies into the use of audiovisual approaches to immersive music production as well as considerations for stereo mix techniques based on insights gained from immersive audio.

Meditation is a practice that promotes improvements in physical and mental health, according to previous studies. The proven benefits, such as relaxation and stress reduction, have attracted people's interest in initiating training. However, practice demands discipline, time, and dedication. Despite the diversity of techniques available for training, beginners may find it difficult to concentrate during the learning phase of meditation. Technological advances have enabled the emergence of devices that offer guided meditation for users. In that sense, designers engaged with creating products that become tools to enrich the personal experience of users. Virtual Reality (VR) is one of the tools adopted for this purpose. The use of VR to stimulate meditative practice has been a topic of research in the field of technological media. However, research focuses on the practice known as Mindfulness. Also, researchers focus their attention on 3D graphics design. Therefore, this study explored the possibility of designing immersive technologies for the practice of guided meditation. More specifically, to investigate the effects of using 360-degrees Virtual Reality videos supporting the practice of Relaxation Response meditation exercise, developed by Dr. Herbert Benson, and Contemplative Inquiry presented by Robert Butera. Furthermore, the study aimed to explore if technology improves the meditation experience. Adopting the theoretical approaches of Positive Technology and Research through Design, the Aurora and Pandora prototypes were designed to explore the themes. The results indicate that guided meditation presented through immersive videos can provoke desirable emotional responses in people who practice meditation, such as calm and relaxation. However, undesirable physical effects were observed in the participants. The discomfort of vision, stress, and irritation were examples. Also, the experiments showed that it was possible to improve the experience of meditative practices.

De nombreux travaux ont montré que, à l’origine des limitations de l’interaction bureautique, il y a un manque à la fois d’espace moteur et d’espace visuel.Cette thèse explore des moyens pour optimiser l’usage de ces espaces.D’une part, à partir du constat que l’on contrôle la position et l’orientation d’un objet par un geste naturel, cette thèse étudie les bénéfices que peut offrir une souris dotée d’un capteur de rotation. Cette < souris rotative > permet à l’utilisateur de maîtriser avec aisance trois variables continues d’une tâche informatique. Un état de l’art présente des aspects perceptifs et moteurs des actions en question et les particularités ergonomiques et techniques d’un tel dispositif. Deux techniques d’interaction - visant à faciliter des tâches métier récurrentes - sont proposées :le réglage < quasi-intégral > et la < palette satellitaire >. Par ailleurs, une évaluation expérimentale compare la performance d’une souris rotative avec celle d’une souris traditionnelle.D’autre part, ce travail se penche sur les questions de la visualisation de documents dans le contexte des bibliothèques numériques. D’abord, il examine l’apport et la faisabilité technique de l’utilisation d’un dispositif d’affichage immersif pour la navigation dans un catalogue de titres virtuel. Puis, afin de faciliter l’inspection massive d’un lot de pages numérisées, il avance des techniques de visualisation zoomables et multi-focales. Ces dernières permettent, dans une recherche d’anomalies, de saisir vite les caractéristiques visuelles de quelques centaines de pages. Et cela grâce à un va-et-vient entre la vue d’ensemble et la navigation panoramique des détails. / Past research has suggested that among the reasons for the limitations of present desktop interaction style is the lack of both motor and visual space. The goal ofthis thesis is to optimize the use of such spaces. Based on the fact that one can control an object’s position and orientation through a natural movement, the first main contributioin of this thesis is to explorethe advantages of enhancing the sensing of the standard mouse througha rotation sensor. This < rotary mouse > allows one to easily control three continuous variables of a computer task. A survey presents the perceptual and motorissues of some rotary manipulations and also the technical and ergonomic requirements of such device. Two interaction techniques, aimed to simplify repetitive tasks, are proposed : the < nearly-integral selection > and the < satellite palette >.Furthermore, an experimental evaluation compares the performance of the rotarymouse with that of a standard one. The other main contribution of this work is to investigate document visualization issues in the context of digital libraries. First, it analyses the advantages and the technical feasibility of integrating an immersive display to an interface aimed to support navigation in a virtual catalog. Second, in order to inspect the quality of a batch of digitized pages, it explores some zoomable and multi-focal visualization techniques. The overview and the panoramic detail browsing enabled by such techniques try to help users, which have to identify the flaws resulted from the digitization process, to quickly grasp the visual characteristics of a large set of pages.

The following qualitative study sought to answer three questions: (1) What are the high priority design values used by expert exhibit developers to create meaningful exhibits at children's museums? (2) How do exhibit developers prioritize these design values? (3) What are the desirable outcomes that exhibit developers seek to achieve with the guests who interact with the exhibits? These questions were answered through interviews with children's museum exhibit developers, personal observations, and artifact analysis. The data collected was organized into four cases, each representing a different children's museum and corresponding exhibit developer. The cases were then compared against each other using multiple case study analysis as described by Stake (2006). The data revealed that most of the developers designed exhibits which promoted family learning by encouraging meaningful interactions between parents and children. Other high priority design values used by exhibit developers included physical engagement, multiple entry points, simplicity, durability, multisensory engagement, staff and volunteer facilitation, safety, and immersive environments. Successful museum exhibits empowered guests and were always created using multiple design values. This thesis may be downloaded for free at http://etd.byu.edu.