Orientador: Dorival Campos Rossi / Resumo: Esta pesquisa consiste na produção audiovisual de um documentário sobre o audiovisual no movimento maker. A metodologia maker com a filosofia do Do It Yourself (DIY) é a principal forma de estruturação do projeto. A narrativa é construída a partir de depoimentos de especialistas e registro de locais, como FAB LABs e feiras, atividades, dentre maratonas (hackathon e jams) e oficinas, com enfoque nas funções das produções audiovisuais nesses meios. A produção consiste em um vídeo documental, para plataforma on-line de livre acesso, em que tratará das funções das produções audiovisuais do universo maker. Além da produção audiovisual (roteiro, direção de arte, fotografia, captação de vídeo e som, edição e publicação), todo o material gráfico como logo, lower third, e vinheta foram produzidos para complementar o processo visual e torná-lo mais intenso. Tendo em vista que não localizamos, em nossa pesquisa bibliográfica, nenhum material audiovisual produzido que relacione tal universo a aspectos teóricos, práticos, tecnológicos e sociais. Este projeto visa expandir para além dos muros da universidade um conhecimento aprofundado, transmitido por vídeo, com potencial de propagação e engajamento muito maior do que de um texto, sobre uma tendência que vem se revelando cada vez mais promissora em nosso contexto atual. / Abstract: This research consists of the audiovisual production of a documentary about the audiovisual in the maker movement. The maker methodology with the Do It Yourself (DIY) philosophy is the main form of structuring the project. The narrative is built from expert testimonies and registration of places, such as FAB LABs and fairs, activities, among marathons (hackathon and jams) and workshops, with a focus on the functions of audiovisual productions in these media. The production consists of a documentary video, for an online platform with free access, in which it will deal with the functions of the audiovisual productions of the maker universe. In addition to audiovisual production (script, art direction, photography, video and sound recording, editing and publishing), all graphic material such as logo, lower third, and vignette were produced to complement the visual process and make it more intense. Bearing in mind that we did not find, in our bibliographic research, any audiovisual material produced that relates such universe to theoretical, practical, technological and social aspects, this project aims to expand beyond the walls of the university a deep knowledge, transmitted by video, with potential propagation and engagement much greater than that of a text, on a trend that has been proving increasingly promising in our current context. / Mestre

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Herdecke, Universiẗat, Diss., 2006 u.d.T.: Flemisch, Marcus: Verhaltenswissenschaftliche Erklärungsansätze für die Preisbildung an Terminmärkten unter besonderer Berücksichtigung der Market-Maker-Funktion--Witten.

Zugl.: Witten, Herdecke, Universiẗat, Diss., 2006 u.d.T. u.d.T.: Flemisch, Marcus: Verhaltenswissenschaftliche Erklärungsansätze für die Preisbildung an Terminmärkten unter besonderer Berücksichtigung der Market-Maker-Funktion.

The purpose of this paper is to establish that Francis Thompson, the English poet who lived from 1859 until 1907, is a myth-maker. In doing this, it will be necessary to define the term "myth-maker." The theme will then be developed by considering it in relation to the following topics: a brief resume of the events of his life having a direct bearing upon his mythic system, difficulties the student of his work must face, proof that he is a myth-maker of noteworthy significance, a consideration of the nature of his myth, a discussion of his most notable mythic values, and a special look at his mythic development of "The Hound of Heaven."

Le Do-It-Yourself (DIY), qui se définit par la réalisation de produits par et pour soi-même (Campbell, 2005), connaît depuis quelques années un regain d’intérêt qui concorde avec l’émergence de mouvements environnementalistes sociaux tels que la simplicité volontaire, le minimalisme et le zéro déchet. En effet, de plus en plus de consommateurs optent pour le DIY comme un mode de production et consommation responsables (PCR) permettant une utilisation efficace des ressources, de l’énergie et une réduction des déchets (PNUE, 2020a ; Salvia, 2016). Néanmoins, du fait de l’utilisation possible de matériaux neufs et de technologies énergivores, inscrire la pratique du DIY dans une approche de PCR ne fait pas consensus au sein de la communauté scientifique (Salvia et Cooper, 2016). Pour comprendre le potentiel responsable du DIY, une recherche qualitative de type exploratoire a été menée avec comme premier objectif de documenter le processus de conception et de fabrication des praticiens du DIY. Puis, sur la base des données récoltées, le second objectif était d’identifier les opportunités d’inscrire cette pratique dans une approche de PCR. Pour y parvenir, quinze entrevues semi-dirigées ont été menées auprès de participants issus de cinq réseaux : milieux de formation, de location d’outils, Fab Labs, réseaux d’artisanat et entreprise en développement durable. À partir des données recueillies, un premier modèle conceptuel, illustrant les neuf étapes du processus de conception et de fabrication du DIY, a été schématisé. Basées sur ce modèle conceptuel, des recommandations, telles que valider le concept du projet, préconiser des matériaux réutilisés et des outils partagés, ont été formulées afin de guider les praticiens et la communauté du DIY vers une approche de PCR. Enfin, une première définition du DIY responsable est proposée afin de mieux positionner cette pratique parmi les approches de PCR et d’éclairer la communauté scientifique sur le débat l’entourant. / The Do-It-Yourself (DIY) practice, which is defined as the realization of products by the practitioner himself and for his own consumption (Campbell, 2005), is experiencing a revival of interest, these last few years, that concords with the emergence of social pro-environment movements like voluntary simplicity, minimalism and zero waste. Its grown popularity has led more consumers to opt for its practice and to increasingly consider it as a pattern of responsible production and consumption (RPC), which allows resources and energy efficiency, and waste reduction (PNUE, 2020a; Salvia, 2016). However, with the possible use of new materials and energy demanding technologies, considering the DIY practice as RPC patterns contributes to the debate among the scientific community (Salvia et Cooper, 2016). To explore the responsible potential of the DIY practice, a qualitative research has been carried with the first objective to document the conception and fabrication process of DIY practitioners. Then, based on the collected data, the second objective was to identify the opportunities by which the DIY practice could correspond to RPC patterns. In order to meet these two objectives, fifteen semi-structured interviews were held with participants recruited in five different networks: DIY courses, tools location service, Fab Labs, crafting groups, and a sustainable enterprise. From the gathered data, a first conceptual model was schematized to illustrate the nine identified steps of practitioners’ DIY conception and fabrication process. Based on this conceptual model, recommendations to validate the project design and to choose reused materials and shared tools were formulated to guide practitioners and the DIY community towards adopting RPC patterns in their practice. Finally, a first responsible DIY definition is proposed in order to better position the DIY practice among the RPC approach and to enlighten the current debate dividing the scientific community.

L’objectif de ce travail de recherche est d’explorer comment le personnel enseignant conçoit la planification d’une activité de type Maker à l’école. Plus spécifiquement, nous cherchons à comprendre comment il véhicule les trois éléments associés au mouvement Maker retenus par Martin (2015) à savoir les outils numériques, la communauté et la mentalité du fabricant. Cet auteur juge ces éléments essentiels à la pérennité du mouvement en éducation. Ce mouvement, communément appelé « do-it-yourself », rencontre depuis plusieurs années un engouement sans précédent, notamment auprès du personnel enseignant qui s’imprègne de la philosophie Maker en vue de créer de nouveaux environnements d’apprentissage et préparer l’élève au monde du 21e siècle. La diversité des outils orientés Maker (p. ex. Arduino, Scratch ou l’impression 3D) et leurs facilités d’utilisation ont grandement contribué à cet enthousiasme. Dans notre étude, nous avons mené des entrevues auprès d’enseignantes et d’enseignants des écoles de langue française de l’Ontario, précisément de la région d’Ottawa. Notre étude a permis de révéler trois éléments importants dans la planification d’une activité de type Maker : 1) la création d’un esprit de communauté Maker; 2) l’implantation d’une mentalité Maker par les actes; et 3) l’émergence d’une planification dans l’action.

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This doctoral thesis investigates the impact of the “maker movement” on education, exploring how making, tinkering, coding, and play contribute to the development of 21st-century skills such as creativity, problem-solving, and computational thinking. Grounded in the construc- tionist approach, it emphasizes the intrinsic value of the learning process and interdisciplinary connections across STEAM (Science, Technology, Engineering, Arts, and Mathematics) do- mains. Starting from a robust exploration of the literature and an empirical study into youth perceptions, this research outlines an expansive educational framework that transcends traditional STEAM boundaries. The thesis illustrates the transformative journey, highlighting the formation of communities of practice and the launch of innovative outreach initiatives. It argues against offering a singular conclusion, instead presenting an integrated approach that weaves together theoretical insights with practical outcomes. The work supports pedagogical principles and demonstrates the benefits of innovative educational activities, advocating for a model of cross-disciplinary contamination and inclusivity. By bridging the gap between various fields of research and between academia and the broader community, this dissertation suggests a paradigm capable of producing impactful educational advancements. It presents a journey through educational models and methodologies, the ex- pansion of university missions, and the measurement of the impact of university FabLabs, thus contributing significantly to both academic discourse and practical applications in educational settings.