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Made available in DSpace on 2016-08-03T12:29:53Z (GMT). No. of bitstreams: 1 Sergio.pdf: 36943 bytes, checksum: 2f9d2a704c499e259e7dc0403f27c5fa (MD5) Previous issue date: 2013-02-01 / This research proposes the theoretical approach of silence as a comunicational element, as an element connected to the materiality of language, as a way able to produce narrative rhythm and edify projectual bases destinated to development and the implementation of art direction in a project to creat Journey, an independent eletronic game to the seventh generation videogames. The silence in Journey was observed as a composition element of language, in other words, as something that wasn t purposely said but could have produced some kind of communicational effect on the route of the narrative that was proposed to the plot. So, we discovered places and characters that compose the playful universe of this electronic game by the metaphore of silence, approaching narrative systems, technics of art direction and projectual relations established by this context. This is the central point of this project, translate the silence and its absences in a communicating element, transformer of players perception and sensibility by the narratives and the art direction of an artistic expression in shape of videogame. / Esta pesquisa propõe a abordagem teórica do silêncio como elemento comunicacional, como um elemento ligado a materialidade da linguagem, como um meio capaz de produzir ritmo narrativo e de edificar as bases projetuais destinadas ao desenvolvimento e a implementação da direção de arte em um projeto voltado a criação de Journey, um jogo digital independente para os videogames de sétima geração. O silêncio em Journey foi observado como elemento compositivo de linguagem, isto é, como aquilo que intencionalmente não foi dito, mas que conseguiu produzir algum tipo de efeito comunicacional no percurso da narrativa proposta para a trama. Assim, descobrimos os ambientes e os personagens que compõem o universo lúdico deste jogo digital por meio de um estudo de caso e da metáfora do silêncio, abordando os sistemas narrativos, as técnicas de direção de arte e as relações projetuais estabelecidas a partir deste contexto. Este é o objetivo central deste trabalho, traduzir o silêncio e suas ausências em um elemento comunicador, transformador da percepção e da sensibilidade dos jogadores por meio das narrativas e da direção de arte de uma expressão artística em forma de videogame.

John Stevens was commissioned by the Chicago Symphony Orchestra (CSO) and the Edward F. Schmidt Family Commissioning Fund to compose a concerto for its principal tubist, Gene Pokorny. The piece began with multiple conversations between composer and performer and from these meetings actualized the influences that shaped the work. The most important influences that the performer mentioned were his passions for American steam locomotives and the Three Stooges, both of which were used by Stevens in his rendering of the composition. This concerto was designed to be played on the famous CC York tuba that was played by the former principal tubist of the CSO, Arnold Jacobs, the same instrument used today. Insight into the history of the York tuba will be given as well as their influence on contemporary manufacturing and design. Focus is given to how Stevens writes the piece idiomatically to the CC tuba and potential performance problems when a performer uses tubas of a different key. Conversations with both gentlemen will display the non-musical influences on Journey and how this effects the composition. Stevens' compositional language is explored and discussed in respect to the challenges and idiosyncrasies within the work. Collegiate tuba professors provide explanation for works level of interest within their respective schools and experiences.

The digital world is constantly growing. This contributes to increasing expectations and demands in the technical aspect. Digitization is powerful, but it further contributes to a number of challenges, such as the coordination of physical and digital stores. During the corona pandemic, the digital transformation has accelerated for companies to adapt to customers. Therefore, the purpose of the research is to understand how swedish retailers can manage technological touchpoints in customer journeys in the furniture sector. Further the purpose is to investigate how retailers can use technological touchpoints to change the quality and customer engagement in the customer journey.  To be able to answer the empirical findings, six semi-structured interviews were obtained through a multiple case study. The theory from previous research and the empirical results were then discussed in the analysis. The conclusion of the thesis resulted in the management of digital touchpoints is different depending on whether it concerns companies using physical stores or e-commerce. This thesis has identified that retailers in the furniture sector manage technological touchpoints to create a seamless customer experience, increase customer satisfaction, more easily engage customers and to be able to integrate with customers in several ways. Digital touchpoints have made it easier for companies to measure results and to be able to improve the customer journey. One identification was that customer engagement has increased in relation to the increased digitalization, but also that the researched companies believe that digitization is vital for increasing customer engagement. Due to the technology, opportunities are created to be able to develop the quality of the customer journey. Further, by being able to measure the customer journey, the companies gain an insight into what should be constantly improved.

Education is a critical social process and is the responsibility of the society of which a child is a member. Education and Schooling promote the cognitive development and professional skills acquisition that produce economic development and positive socio-economic outcomes. In the modern world, education is strongly correlated with employability, access to food, housing, social status and associates strongly with measures of individual health and wellbeing. However, despite moderate gains in education outcomes for Inuit students, school engagement and graduation rates remain low across Inuit Nunangat in the K-12 system, and entry into post-secondary education has increasingly lagged behind that of the rest of Canadians. All the while, Inuit remain the most socio-economically disadvantaged people in Canada. At the root of this education gap is the collision of two cultures and world views. In the last sixty-five years (roughly just two generations), Inuit non-monetary social and economic systems, as well as teaching methods, have been eroded and replaced by dominant Western pedagogical and economic practices. This has caused tension between Inuit and Western pedagogy and provoked re-examination of what gets taught in the dominant Western education system in order to prepare Inuit students to participate in Canadian society. This study narrates the experiences of six Inuit students' education journeys and explores how they navigated cultural tensions to successfully reach and complete their post-secondary education. Findings indicate that the presence of Inuit Qaujimajatuqangit (Inuit epistemology), or rather its prescriptive Guiding Principles (the branch of Inuit social epistemology) when practiced, supported their success. Further, the lack of these Principles, evident in microaggressions from educators, segregation, racism, suicides, and lateral violence from peers all served as barriers to their educational goals of being able to participate bi-culturally in both the Inuit and Western ways of living.

Skiftet från en bensindriven bil till en elbil är ett ämne som drastiskt accelererat under de senaste fem åren med motivation av miljömässiga fördelar. Detta skifte börjar inte bromsa in, utan snarare att fler konsumenter väljer en elbil framför en bil med en förbränningsmotor. I takt med att bilen blir mer avancerad, blir även tekniken inuti bilen mer komplicerad för konsumenter att använda. Syftet med denna studie är att jämföra köpintentioner av en Elbil mellan Tyskland och Storbritannien, med specifik hänsyn till Technology acceptance model (TAM). Studien är genomförd som en kvantitativ undersökning med Polestar som samarbetspartner. För Tyskland respektive Storbritannien är respondenterna 54 respektive 56 styck. Analysering av resultat har gjorts genom en deskriptiv analys samt en korrelationsanalys, för att hitta mönster i de datamaterial som insamlats. Resultatet påvisar att det finns såväl likheter som skillnader i köpintentionerna för såväl Tyskland som Storbritannien. Exempelvis påvisar resultatet att TAM har en likvärdig inverkan på köpintentionerna hos de båda länderna, samtidigt som exempelvis miljö har en större inverkan hos konsumenter i Storbritannien än i Tyskland. / The shift from a petrol-powered car to an electric car is a topic that has accelerated dramatically over the past five years with the intention of environmental benefits. This shift is not starting to slow down, rather more consumers are choosing electric vehicles over cars with internal combustion engines. As the car becomes more advanced, the technology in the car also becomes more complicated for consumers to use. The purpose of this study is to compare the purchase intentions of electric cars in Germany and the United Kingdom, with specific regard to the Technology acceptance model (TAM). The study was conducted as a quantitative study partnered with Polestar. For Germany and the United Kingdom, the respondents are 54 and 56 respectively. Analysis of results has been done through descriptive analysis and correlation analysis, to find patterns in the data material collected. The results show that there are similarities and differences in the purchase intentions for both Germany and the United Kingdom. For example, the results show that TAM has an equal impact on the purchasing intentions of the two countries, while for example, the environment has a greater impact on consumers in the UK than in Germany.

Storytelling kan ses som ett effektivt marknadsföringsverktyg inom destinationsutveckling. Storytelling, särskilt presenterat i filmformat, har aktualiserats de senaste åren och förekommer som en högt rankad trend och strategi på DestinationsNEXT Future 2021 study, den mest omfattande rapporten i världen inom destinations- och turismbranschen. Det förekommer dock ett gap mellan trenden och användningen av storytelling i filmformat bland Destination Marketing Organisations (DMO). Det saknas ett tydligt ramverk för hur storytelling kan struktureras och det vanligast förekommande är att DMO:s producerar så kallade kollage-videos, utan innehåll av storytelling. Ett sätt att strukturera kraftfulla berättelser i DMO:s kommunikationsfilmer skulle istället kunna vara att använda storytellingramverket The Hero’s Journey. Syftet med denna studie är således att skapa en ökad förståelse för Destination Marketing Organisations (DMO) användning av storytelling i kommunikationsfilmer. Vidare ämnar studien undersöka vilka utmaningar som kan påverka DMO:s arbete med detta. Den teoretiska utgångspunkten för studien innefattar DMO:s komplexa roll, deras olika syften och förväntade effekter med storytelling samt ramverket The Hero’s Journey. Materialinsamling har bestått av sex semistrukturerade intervjuer med svenska regionala DMO:s samt en dekonstruktion av utvalda kommunikationsfilmer från vardera DMO. Studiens viktigaste resultat visar på hur DMO:ernas komplexa roll möjliggör eller hindrar dem från att genomföra bra kommunikationsfilmer innehållandes storytelling. Den geografiska komplexiteten, samarbeten mellan regioner, tids- och resursbrist, samt svårigheter med representation är de största faktorer som påverkar arbetet. Vidare visade resultatet hur DMO:s använder storytelling i olika syften, vilka är av både kognitiv, affektiv och konativ karaktär och visar på att olika effekter önskas nås genom deras storytelling och därmed påverkar innehållet. En kartläggning har genomförts för att undersöka hur DMO:ernas storytelling följer det valda ramverket, The Hero’s Journey. Det framkommer hur endast två av filmerna tydligt kan sägas följa en berättelsestruktur enligt detta ramverk, men där flera steg kunde urskiljas i alla filmer. Stegen var dock olika tydliga och tyder på att ramverket inte efterföljs i någon större utsträckning. Då DMO:erna själva inte uttryckte hur de följde ett specifikt ramverk vid skapandet av filmerna, tyder identifieringen av stegen på hur detta ramverk har potential att användas ännu mer och på så vis göra det möjligt för DMO:s att skapa filmer med mer storytelling. / Storytelling can be seen as an effective marketing tool in destination development. Storytelling, especially presented in film, has become relevant in recent years and appears as a highly ranked trend and strategy in the DestinationsNEXT Future 2021 study, the most comprehensive report in the world in the destination and tourism industry. However, there is a gap between the trend and the use of storytelling in film among Destination Marketing Organizations (DMO). There is no clear framework for how storytelling can be structured and most commonly DMO:s produce so-called collage videos, without content of storytelling. One way to structure powerful stories in DMO:s communication films, could instead be to use the storytelling framework The Hero's Journey. The purpose of this study is thus to create an increased understanding of Destination Marketing Organizations' (DMO) use of storytelling in communication films. Furthermore, the study intends to investigate what challenges may affect DMO's work with this. The theoretical starting point for the study includes DMO's complex role, their different purposes and expected effects with storytelling and the framework The Hero's Journey. To collect empirical data, six semi-structured interviews with Swedish regional DMO:s and a deconstruction of selected communication films from each DMO has been conducted. The main results of this study shows how the DMO's complex role enables or prevents them from creating good communication films containing storytelling. The geographical complexity, collaborations between regions, lack of time and resources, and difficulties with representation are the biggest factors that affect their work. Furthermore, the results showed how DMO:s use storytelling for different purposes, which are of both cognitive, affective and conative nature and show that different effects are desired to be achieved through their storytelling and thus affect the content. An investigation has been carried out to see how DMO's storytelling follows the chosen framework, The Hero's Journey. Only two of the films can clearly be said to follow a narrative structure according to this framework, but several steps could be distinguished in all films. However, the steps were clear to different degrees and indicate that the framework is not followed to any greater extent. Although the DMO:s did not mention following a framework when creating their films, the identified steps shows how the framework has potential to be used further and enable for DMO:s to create films with even more storytelling. The following essay is written in swedish.

Artificiell intelligens (AI) och i synnerhet maskininlärning (ML) har inom UX-design visat potential att förbättra designprocessen genom att exempelvis identifiera användargrupper från stora datamängder, effektivisera idégenerering och automatisera repetitiva uppgifter. Det råder dock oenighet kring hur tekniken kan integreras i designprocessen. En viktig del av en designers arbete är att konsekvent prioritera användarbehov och därigenom förbättra användartillfredsställelsen. Därför försöker designers empatiskt sätta sig in i användarnas situation genom att identifiera deras behov och noggrant utforska potentiella problemområden. En visualiseringsteknik som ofta används av designers för att utveckla och förstå användarupplevelsen är journey mapping (JM). JM är dock en mycket resurskrävande process då den förutsätter nära samarbete mellan olika avdelningar och team. Trots detta visar forskning att de flesta designers inte integrerar element relaterade till insikter i sina kartor, vilka ofta är avgörande för att omvandla JM från visuell berättelse till handlingsplan. Integreringen av ML i JM-processen skulle potentiellt kunna möjliggöra en snabbare, mer datadriven och anpassningsbar designprocess som fokuserar mer på användarnas behov och önskemål. Utmaningen ligger i att smidigt integrera tekniken utan att förlora mänskliga perspektiv och tolkningar, vilka är grundläggande för användarcentrerad design. Denna studie fokuserar på att utforska sätt att integrera ML i delar av designprocessen för att möta utmaningarna som uppstår vid strävan efter användarcentrerad design i en resurskrävande miljö. För att uppnå en djupgående och strukturerad förståelse av samspelet mellan designprocessen, empatiskapande samt ML valdes en systematisk litteraturgranskning som den primära datainsamlingsmetoden samt tematisk analys som dataanalysmetod för denna studie. Målet är att utifrån detta resultat presentera praktiska rekommendationer, baserat på sammanställning av befintlig forskning, för hur JM-processen kan omformas och göras mer ML-driven. Genom en omfattande litteratursökning inhämtades data, vilken genomgick kvalitetsbedömning. Därefter genomfördes en inkludering- och exkluderingsprocess i enlighet med förutbestämda kriterier. Detta resulterade i 13 utvalda dokument, från vilka mönster och teman extraherades genom en tematisk analys. Resultatet visade på vikten av samskapande mellan människa och maskin för att möjliggöra en ansvarsfull designprocess. I resultaten presenteras även tekniska möjligheter och dilemman, där ML exempelvis kan automatisera repetitiva uppgifter och möjliggöra kontinuerlig övervakning och utvärdering av användarupplevelsen över tid. Dock kräver detta omfattande och representativa träningsdataset för att konstruera ML-modeller med hög generaliseringsförmåga gentemot nya och komplexa data. Resultaten belyser också bristen på förståelse för ML bland UX-designers och betonar vikten av samarbete med datavetare för att skapa en effektiv designprocess. Utifrån dessa resultat presenteras rekommendationer för en ML-driven JM-process. Även om UX-rollen troligtvis behöver omdefinieras, framhåller resultaten att kulturen inom UX-designprocessen snarare är "dataaktiverad" än helt datadriven. Detta perspektiv understryker det fortsatta behovet av mänsklig intuition och förståelse trots den ökade inriktningen på datadrivna metoder. Slutligen diskuteras hur framtida forskning skulle kunna inrikta sig på att utvärdera rekommendationernas praktiska tillämpbarhet. / Artificial Intelligence (AI), particularly Machine Learning (ML), has demonstrated potential within UX design to enhance the design process by identifying user groups from extensive datasets, streamlining idea generation, and automating repetitive tasks. However, there is ongoing debate about the integration of this technology in the design process. A crucial aspect of a designer's work is consistently prioritizing user needs to enhance user satisfaction. Designers strive to empathetically understand user situations by identifying their needs and meticulously exploring potential problem areas. One commonly used visualization technique employed by designers to develop and understand user experiences is Journey Mapping (JM). However, JM is a resource-intensive process, requiring close collaboration across different departments and teams for extensive data collection. Despite this, research indicates that most designers do not integrate elements related to insights into their maps, crucial for transforming JM from a visual narrative to an actionable plan. Integrating ML into the JM process could potentially enable a faster, more data-driven, and adaptable design process, effectively focusing on user needs and desires. The challenge lies in seamlessly integrating the technology without losing the human perspectives and interpretations fundamental to user-centered design. This study focuses on exploring ways to integrate ML into parts of the design process to address challenges in pursuing user-centered design in a resource-intensive environment. A systematic literature review was chosen as the primary data collection method, with thematic analysis employed as the data analysis method. The aim was to present practical recommendations based on a compilation of existing research on the design process, making the JM process more MLdriven. Through an extensive literature search, data was gathered and subjected to quality assessment. Subsequently, an inclusion and exclusion process were conducted according to predetermined criteria, resulting in 13 selected documents. Patterns and themes were extracted through thematic analysis. The results emphasize the importance of co-creation between humans and machines to enable a responsible design process. Technical possibilities and dilemmas are also presented, highlighting ML's ability to automate repetitive tasks and facilitate continuous monitoring and evaluation of user experience over time. However, this requires comprehensive and representative training datasets to construct ML models with high generalization ability to new and complex data. The results also underscore the lack of ML understanding among UX designers and emphasize the importance of collaboration with data scientists for an efficient design process. Recommendations for an ML-driven JM process are presented based on these findings. While the UX role may need redefinition, the results emphasize a "data-activated" culture within the UX design process rather than being entirely data-driven. This perspective underscores the ongoing need for human intuition and understanding despite the increased focus on data-driven methods. Finally, the discussion explores how future research could evaluate the practical applicability of the recommendations.

On June 3rd 2015, I started in Sundsvall a pilgrimage known as S:t Olavsleden that crosses through the most agnostic countries on the world, Sweden and Norway. I got Research funding by Royal Insitute of Art in Stockholm to carry out the project; there was an open call to people participate in it. I proposed the Nordic pilgrim path as an explorational framework in which I focused on how the walking on a sacred route can influence in the individual process. A multinational group of artists, writers, philosophers and archaeologists was selected by me. We arrived to Trondheim on June 2nd after covering almost 600 kms. For completion of the investigation, I decided to walk on Camino de San Olav, a 3 years-old path in my homeland -Spain- from October 23rd to 25th.During the process a series of unexpected things happened. As an artist, I think these events are important because they raise questions about the utility of walking as an artistic practice and my role as activator of aesthetic relational encounters. What happens when the participants are taken out of their comfort zone and their relations generated by the walking engagement? How do they envisage an inner journey? Could they understand my proposal as a symbolic performance and what new perspectives are conveyed? How are the old sacred routes are adapted to the new times?Reviewing the past bring us to the present. In my project, I explored the significant cultural, social and environmental parallels between two paths run across the most uninhabited areas in Europe: the North of Scandinavian Peninsula and the North of Iberian Peninsula. Both of them share a comparable emphasis on ideas of traditional assets that are rooted in the relationship between human habitation and the natural environment. There are human endeavors to maintain their identity and do not fall into oblivion. For this reason, the authorities are making a special effort to make it popular again following the successful model of Camino de Santiago. This fact arises a new secular method of approaching pilgrimage: how the tourist industry adapts itself to the new times using ancestral routes for the consumer wants to live an inner and spiritual journey. The sacred manifestations are becoming a package tours. The offer is not only the spiritual dimension of the way, it is also the aesthetic experience of walking.I am not a believer. While interested in the liminal process of spiritual passages, I have discovered that non-religious persons may experience the mystical in nature owing to the experience of beyond of the sensible world, the Sublime of the landscape. This metaphysical stage can cause an inner transformation due of a new feeling post-encounter. It is important for the development of the creative process because cool things happens: new way to work, the coming of fresh ideas, renewed courage to continue working, more knowledge of oneself... In this aspect, walking practice operates as allegorist embodiment of personal turning point: the stage of in-between before and after. / <p>The tourist seeks a picture, a memory. The pilgrim seeks the redemption. The artist seeks answers.</p><p>Departing from the traditions of the artists of the second half of 20th century that used walking as one of the forms to intervene in nature, I proved the path as a place for discussion, celebration, communal eating, resting, shared knowledge, laughs and pains.... But a differential factor from the walking artists, my aim is not developing physical artworks. The process is the artwork. Art is a framework for engaging moments to effect real change. Art as start-up device to arouse the contemplation of a reality that remains unnoticed.</p><p>As a researcher, I found a modus operandis to finally conflate my Catholic background, the interest in ritual gestures, the walking practice, my personal experiences based on nature, the creation of relational meeting places and my personal family history. Art as a way to explore and to be witness of our time. There is a relationship between S:t Olavsleden and Camino de San Olav but that link is neither forged in the religious meaning nor in the mythic figure of a Christian saint. There is relationship because I have connected to them both. As an artist, I am a catalyst for reaching an symbolic exchange framework from where new experiences emerge to influence in the artistic practice of the people involved in the project. My interest focuses more on the process than the object of art. I do make art with people and for the people. I bring people out of their thicket of daily routines and I offer them an experimental ground as a springboard to develop new works created by each artist in response to their engagement of conflation the physical action with a renewed understanding of connection to their surrounding world.</p><p>This creation of a wandering community is my agreement of the art as way of life. Art production can not get away with disavowing the spiritual or the congregational dimensions of the term. In the metaphorical sense, Art is to walk new ways each time; on completion of this artwork, new questions spring up: Which paths will I walk? How will I experience them? What new project will I share who?</p> / S:t Olavsleden