There is a general consensus that play can bring a more enjoyable user experience and can make users realize new things by providing them with a different look and approach. It is often found in games, social media applications aimed at young audiences and similar playful scenarios. However, claims have been made that it actually exists in most everyday situations, and that designers can leverage it to have a positive impact on users. In this work, we have carried out a complete design iteration to ideate and design for playfulness in a non-playful context: a concrete design case on career guidance for the French region of Grand Est. The ideation has been driven by the PLEX framework and PLEX Cards, along with their techniques. As a result, we produced an interactive prototype and evaluated users’ perception of playfulness, as well as some specific PLEX experiences. We found that the PLEX framework and PLEX Cards allow designing for playfulness in non-playful contexts, and that such play is perceived positively. The results also show that we can design to elicit specific playful experiences to some extent. / Det är allmänt känt att lek i datorinteraktion kan ge användare roligare upplevelser och lärdomar genom att erbjuda nya synvinklar och tillvägagångssätt. Det förekommer ofta i spel, sociala medier och applikationer som riktar sig till en ung publik och liknande lekfulla scenarier. Det har dock hävdats att lek faktiskt finns i de flesta vardagssituationerna och att designers kan utnyttja den för en positiv inverkan på användarna. I det här arbetet har vi genomfört ett designarbete innehållande konceptgenerering och design för implementation av lekfullhet i en icke lekfull kontext: ett konkret design case om karriärvägledning för den franska regionen Grand Est. Idéutvecklingen har drivits av PLEX-ramverket och PLEX Cards, tillsammans med tillhörande tekniker. Som ett resultat producerade vi en interaktiv prototyp och utvärderade användarnas uppfattning om lekfullhet samt några specifika upplevelser. Vi fann att PLEX-ramverket och PLEX Cards gör det möjligt att erbjuda lekfullhet i ett icke lekfullt sammanhang, och att sådan lek uppfattas positivt. Resultaten visar också att vi i viss utsträckning kan designa för att framkalla specifika lekfulla upplevelser

Stories to wear is a bachelor degree work in textile design. The position of the work is in digitally printed textile surface pattern for clothing where the surface pattern collection is designed for storytelling and playfulness. The project explores the synergistic effect in combining a method where randomness decides the outcome, textiles, patterns and the body. / Stories to Wear är ett kandidatarbete inom textildesign. Arbetets position är inom digitalt tryckt textilytmönster för kläder där ytmönsterskollektionen är designad för berättande och lekfullhet. Projektet utforskar den synergistiska effekten av att kombinera en metod där slumpen bestämmer utfallet, textilier, mönster och kroppen.

This thesis sets out to explore why people engage in, and how to design for, play in a public setting. It does this by separating design for play from design of games, describing play as a socially and mentally understood activity, and a playful approach to engaging in that activity. It emphasises that while play is voluntary, design can help shape the players’ mode of engagement. The thesis uses a qualitative and inductive approach to research, with an understanding of knowledge as being constructed in the individual. The research is grounded in human computer interaction and interaction design, and closely related to game studies and design science. The research question concerns how design can influence the player activity in order to create a desired player experience in public, by harnessing playful engagement. It’s foundation is a theory of play which describes play as a framed, or hedged-off, activity with a fragile border; where knowledge and feelings can leak both in and out of the activity, and affect the play as well as what is around it. The theory of enjoyment of play is discussed, and the problem of treating this as ‘fun’ is addressed, concluding in a presentation of how playful engagement can be harnessed through design. The theory is applied in five design cases: I’m Your Body, a locative storytelling app; Codename Heroes, a pervasive game of personal empowerment; Passing On, a slow-paced game about communication; Busking Studies, which involves observing street performers and their shows; and DigiFys, an architectural design exploration of playgrounds and play paths. Finally, three concepts, or design tools, are presented, which address: 1) a structure for understanding a design through three layers, constructs designed by the designer, inspiring play activity with the player, leading to experience; 2) an approach to designing invitations to play; and finally 3), a four faceted structure for understanding play engagement when players engage in non intended ways.

近年手機遊戲產業發展迅速，不論是在全球或是台灣皆呈現高潛力的發展趨勢，手機遊戲有望在不久的將來成為遊戲界營收佔比最高的類別。相應著這樣的潮流，對手機遊戲的相關研究也跟著大量出現，研究題材如遊戲內容品質、平台營造以及營利模式等等，均為手機遊戲的開發有諸多貢獻。但是，儘管手機遊戲的研究正在興起，其走向仍以遊戲本質為主，鮮少有針對手遊玩家使用心態的研究，更遑論探討其與消費行為之間的關聯。 為了解決這樣的理論空缺，本研究欲以玩家的遊玩動機與遊戲特質偏好，結合科技接受模式中的知覺娛樂性，探討其對手機遊戲消費行為之間的關係。本研究將遊玩動機區分成「成就型動機」、「社交型動機」以及「沉浸型動機」；遊戲特質偏好則以「奇幻性偏好」、「合理性偏好」、「神祕性偏好」和「控制性偏好」四大構面分析。至於玩家的消費行為，本研究將其分為「付費意願」、「付費金額」和「上癮度」。 本研究以發放網路問卷的方式進行，總共獲得有效問卷共1043份。經過統計迴歸分析後發現，三種遊玩動機均對付費意願有顯著正向影響，而遊戲特質偏好雖然同樣對付費意願與顯著關係，但在付費金額方面則呈現不相關，唯有「奇幻性偏好」高的玩家有高消費的傾向。「奇幻性偏好」、「合理性偏好」以及「神秘性偏好」都對遊戲的上癮度有顯著影響。其他顯著影響的因素將待於研究中一一解釋。 / The mobile game industry has been developing rapidly in recent years. Its high growing potential can be observed both in global and Taiwan markets. Some marketing studies even claim that mobile games would become the most profitable genre among the gaming market in the near future. The amount of research related to mobile games marketing increases in a fast pace, only reflecting this booming trend However, most of the studies by far merely focus on the content of games. Little academic research has been conducted on the players’ attitude toward games. Therefore, this study aims to bridge the gap between mobile gamers’ psychological status and their purchasing behaviors, offering a possible explanation for the reasons behind their purchases. This study used players’ motivation and preference on game characteristics as the independent variables, in which players’ motivation was classified into “achievement,” “social,” and “immersion,” while preference on game characteristics was divided into four categories: “fantasy,” “rationality,” “mystery,” and “control.” As for gamers’ behavior, it was analyzed in terms of three dimensions: “purchasing intention,” “spending,” and “addiction.” After the regression analysis, the results show that all of the above-mentioned motivation constructs exhibit significant association with purchasing intention. Players with high preference on fantasy theme have greater tendency to spend more on mobile games. Furthermore, preferences on fantasy, rationality, and mystery, have positive relationships with game addiction.

本研究旨在探討閱讀環境、玩興、父母創意教養與國小中、高年級學童科技創造力之關係。研究參與者來自台北市的國小中、高年級，有效樣本計374人。本研究所採用的研究工具包括「科技創造力測驗」、「家庭閱讀環境量表」、「班級閱讀環境量表」、「兒童玩興量表」及「父母創意教養量表」。資料分析所用之統計方法包括描述統計、單因子多變量變異數分析及線性結構模式分析。 本研究主要發現如下： 1.不同性別的三、五年級學童對家庭閱讀環境、班級閱讀環境、玩興的知覺皆無差異，但在父母創意教養的知覺上和科技創造力的表現上卻有差異。三、五年級女童對於父母創意教養的感知程度皆些微地優於男童；而三、五年級男童在整體創造力測驗上皆優於女童，且五年級男童比女童有更好的「視覺造型」表現。 2.不同年級的三、五年級學童在家庭閱讀環境、班級閱讀環境、玩興、父母創意教養的知覺程度上和科技創造力的表現上有顯著差異。五年級學童除了在科技創造力的表現上有高於三年級學童的傾向外，在閱讀環境、玩興、父母創意教養的知覺程度上皆有低於三年級學童的傾向。 3.三、五年級學童的家庭閱讀環境對其整體科技創造力表現分別有些微和明顯的正效果，而五年級學童在「精進力」指標的表現尤其顯著。 4.三年級學童的班級閱讀環境對其整體科技創造力表現有正效果，反之，五年級則無。而三年級學童在「視覺造型」指標的表現尤其顯著。 5.三、五年級學童的玩興對其整體科技創造力表現皆有正效果。三年級學童在「精進力」、「視覺造型」指標的表現較顯著，五年級則在「流暢力」、「精進力」上較顯著。 6.五年級學童的父母創意教養對其整體科技創造力表現有正效果，但三年級學童只對「視覺造型」指標之表現有正效果。而五年級學童在「精進力」指標之表現尤其顯著。 7.家庭閱讀環境、班級閱讀環境、玩興、父母創意教養似乎對三年級學童的「視覺造型」指標較有預測效果，而對五年級學童則是在「精進力」指標較有效果。 8.三、五年級學童皆透過閱讀環境、父母創意教養，先對玩興產生直接或間接效果，然後才對學童科技創造力產生間接的影響效果。 最後，本研究依據上述的研究結果進行討論，並提出相關建議，以供教育、心輔等相關人員在課程、教學與輔導上之參考。 / The main purpose of this study was to explore the relationships among reading environment, playfulness, creative parenting, and technological creativity of the third and fifth graders. The participants included 374 pupils from the elementary schools in Taipei City. The employed instruments in this study were the Test of Technological Creativity, the Inventory of Reading Environment in Family, the Inventory of Reading Environment in the Classroom, the Inventory of Playfulness, the Inventory of Creative Parenting. The employed analysis methods included Descriptives, One-Way Multiple Analysis of Variance, and Structural Equation Modeling. The main findings of this study were as follows: 1.While the girls of the third and fifth graders perceived higher degree of creative parenting than did the boys, the boys outperformed the girls in technological creativity, especially in the “visual design”. No gender differences in reading environment and playfulness were found, however. 2.There were significant grade differences in reading environment, playfulness, creative parenting, and technological creativity. More specifically, the fifth graders outperformed the third graders in technological creativity, but perceived lower degree of reading environment, playfulness, and creative parenting than did the third graders. 3.The third graders’ reading environment in family had a little positive effect on their performance of technological creativity. One the contrary, the fifth graders’ reading environment in family had a great positive effect on their performance of technological creativity, especially on that of “elaboration”. 4.The reading environment in the classroom had a positive effect on the third graders’ performance of technological creativity, especially on that of “visual design”. Such an effect, however, was not found among the fifth graders. 5.Playfulness had significant effects on both the third and fifth graders’ performance of technological creativity. More specifically, playfulness had positive effects on the scores of “elaboration” and “visual design” among the third graders and had positive effects on those of “fluency” and “elaboration” among the fifth graders. 6.Creative parenting had a positive effect on the fifth graders’ overall performance of technological creativity as well as on the score of “elaboration”. However, the positive effect of creative parenting was only found on score of “visual design” in the third grade. 7.While reading environment, playfulness, and creative parenting were effective predictors of the third graders’ performance in “visual design”, they were effective predictors of the fifth graders’ performance in “elaboration”. 8.The findings in this study suggest that the third and fifth graders’ personal trait of playfulness directly influence their development of technological creativity; meanwhile, their reading environment and creative parenting may influence their development of technological creativity directly or indirectly via playfulness. Finally, the researcher proposed some suggestions for educational instructions and future studies.

本論文主要是對一九九○年代過後所攝製的七部敘事背景有關中國文化大革命（簡稱文革）的電影進行分析，探討這些電影裡頭對中國文革的刻畫，更試著勾勒出這些文革的再現與當代中國的文化情境的關聯性。中國自文革後一九八○年代以來，它的文化情境已經產生了頗多變化。這些文化情境，筆者主要是分成三個階段或者部份來闡述。首先是文革過後「新時期」的「文化反思」和「歷史反思」思潮。第二階段是一九九○年代中國高速邁進全球化和市場經濟化的「後新時期」。最後筆者試圖將討論放在邁入兩千年新世紀中國在政治和經濟上崛起的脈絡上。 筆者發現，由三位「第五代」導演田壯壯、陳凱歌和張藝謀所執導的的《藍風箏》、《霸王別姬》和《活著》，其實是受一九八○年代「文化反思」和「歷史反思」的影響，再加上這三位導演年輕時期的生活曾籠罩在文革時候的革命話語中，使到他們的作品散發出濃厚的「文化反思」和「歷史反思」意識。在這些作品中，中國的歷史尤其是文革，成為了他們反思中國民族文化的梏結的寓言敘事策略，更成為了他們尋求為民族國家的文化、政治與經濟上的定位的言說工具。這些在電影中所描繪的個人經歷，都被投射在集體民族的經歷中，折射出對民族集體歷史命運的反思和批判，所呼喚的是一種對社會拯救的理想，一種為國家民族建立一個嶄新文化主體的實踐。 然而，筆者卻發現，另外三部電影，即《陽光燦爛的日子》、《巴爾札克與小裁縫》以及《美人草》卻遠離一九七○、八○年代中國「新時期」「文化反思」和「歷史反思」思潮下的「啟蒙」、「救贖」等的人道傳統話語。這三部電影並沒有呈現出文革的殘酷的一面，反而注重在年輕主人公們朝氣勃勃，充滿激情奔放的青春成長經歷上。同時，《陽光燦爛的日子》通過刻畫人類記憶的建構性和不確定性，來表示我們無法通過記憶來重構一種「絕對的」和「整體的」的文革歷史圖像。而這種現象，是一九九○年代大眾文化在中國的出現與消費社會的成形不無關係。 本論文的最後一個部份，是針對《太陽照常升起》進行分析。筆者發現，這部電影是在「國族寓言」與「反國族寓言」的元素中滑動。首先，它通過絢爛艷麗色彩的攝影，再加上獨特的場面調度，把它的時空背景處理得充滿夢幻色彩，更創造了一個如夢如幻的文革時代。其次，這部電影也通過對文革樣板戲中的女性形象的戲仿，搗毀了女性扮演「國族寓言」的文化角色。然而，這部電影裡頭卻增添了從國外回歸「祖國」的兩個華僑角色。他們在文革時候的遭遇，卻又可以化身為寓意中國現今處境的國族寓言，而這國族寓言跟一九八○年代的文化反思和歷史反思思潮下的國族寓言以及第五代導演的寓言策略有所不同。這部電影中的國族寓言所寓意的，更是和二十一世紀的中國在全球政治和經濟上的崛起有關。而中國在政治經濟上的崛起，卻又和「大中華」的文化認同息息相關。 / This essay focus on analyzing the portraits of China’s Cultural Revolution in seven Chinese Language films made during and after the 1990s. This essay points out that three films made by the “fifth generation” directors namely Blue Kite, Farewell My Concubine and To Live, tend to treat the history of Cultural Revolution as a “national allegory”. These “fifth generation” directors are trying to articulate their narrations of Cultural Revolution to the “cultural reflection” ideological trend of the New Era in the late 1970s and 1980s which searched for the “enlightenment” and “salvation” for the Chinese culture. But this essay also points out that the other three films namely In the Heat of the Sun, Balzac Et La Petite Tailleuse Chinoise and The Foliage, didn’t display the harsher aspects of the Cultural Revolution. Instead they focus on the vigorous and enthusiastic adolescence life of the young protagonists. In the Heat of the Sun also displays the construction and the uncertainty of the human memory, to express that we can’t recapture an “absolute” and a “total” historical image of Cultural Revolution. The portraits of Cultural Revolution in these three films also distance themselves away from the “enlightenment” and “salvation” cultural discourse during the New Era in the late 1970s and 1980s. Lastly, this essay focuses on the film The Sun Also Rises directed by China’s famous actor-cum-director JIANG Wen. This film slides between elements of “national allegory” and “anti-national allegory” for China. Firstly, this film through its brightly colorful cinematography and unique mise en scene, created a film space that is full of fantasy and a dreamlike historical events of Cultural Revolution. Secondly, this film through its parody of the revolutionary model theater of women images, destroys the role of the women in performing the national allegory. But this film added two characters of overseas Chinese returned to China. Their unpleasant experiences during the time of Cultural Revolution can be read as the national allegory of China. Lastly, this film through its unique narrative structure put the ethnic consciousness of “Chineseness” and the concept of “Greater China” into a process of continuing deconstruction and reconstruction.

This research was based on the idea of creating a space of encounter and of an encounter in space. The initial idea was to create a participatory/immersive installation framed within relational aesthetics and contemporary circus: focusing on a vital language that celebrates movement /dance, play, imagination and the magic of life. But through the process I left the concept of installation and I aim for an encounter space: blurring the boundaries with fields such as Movement, Dance Theatre, Improvisation, Circus, etc… A research to explore and develop the relationship with others, specially the audience. And how the audience can become a participant through 1-2-1 performances. Furthermore, I wanted to focus on the process of the research (inspirations, methodology, detect obstacles, making space…) rather than the outcome. The main thread is: Connecting with the “Self” state. ____reVisionesA research in how to facilitate a state of connection, essence, spontaneity and honesty to oneself, though around the idea of an immersive experience for the visitor/participant. “reVisiones” aims to create a space of encounter where participants can focus on awareness of the connection between their Body/Mind/Spirit: a "Transitional Space" where they can observe, be moved or move within as they please.

L’obiettivo di questa tesi è quello di comprendere il processo di formazione dei professori in relazione alla ludicità, identificandone le condizioni determinanti, soprattutto all’università. Si parte dal presupposto che, un’effettiva articolazione tra i saperi dei docenti e le conoscenze universitarie nella formazione iniziale e continuata dei professori, può generare un’università più “hóspita”* (termine di Boaventura de Sousa Santos) nei confronti di processi alternativi di produzione di conoscenze, come quelli associati alla ludicità. L’intenzione è quella di far sì che la comprensione derivante da questo studio - ottenuta soprattutto attraverso l’esercizio del pensiero complesso, così menzionato da Edgar Morin, e delle idee di Maurice Tardif, Antonio Nóvoa e Bernard Charlot sulla formazione dei professori – collabori per il rinnovo delle forme di pensare la formazione del docente, permettendo un miglioramento nella realizzazione di pratiche educative in questa area. Come e perché alcuni professori diventano capaci di giocare nelle loro pratiche pedagogiche e qual è il contributo possibile dell’università è, pertanto, la questione della ricerca sviluppata in questa tesi, la quale si sviluppa attraverso le seguenti domande: a) come e in che condizioni si costituiscono le identità, le soggettività e i saperi professionali dei professori che giocano? b) chi sono, come e perché giocano i professori che giocano? c) qual è il ruolo dell’università in questo processo? d) che cosa caratterizzerebbe le azioni istituzionali universitarie di qualifica dei professori nella prospettiva ludica? Con lo scopo di rispondere a queste domande, sono stati interrogati sulla loro formazione ludica i professori che usano il gioco, creando, nell’ambito della metodologia di ricerca (auto) biografica nell’educazione e partendo dalla ludobiografia concepita da Gianfranco Staccioli, un procedimento specifico di produzione di narrazioni condivise in gruppo, denominato incontri ludobiografici. In questi incontri, gli otto professori partecipanti allo studio, selezionati in base alla diffusa presenza del gioco nelle loro pratiche pedagogiche, hanno raccontato le loro storie formative in relazione al gioco attraverso attività ludico-espressive. I dati risultanti, riportati attraverso fotografie, video-registrazioni e rispettiva trascrizione, appunti presi su campo e portfoli individuali elaborati dai professori, sono stati interpretati sotto la prospettiva dell’Ermeneutica Filosofica di Hans-Georg Gadamer. Per quanto riguarda i risultati, si evidenzia: una migliore comprensione della formazione ludica del professore partendo dalla sua conoscenza come una complessa costellazione di saperi e pratiche; l’identificazione del ruolo dell’università in questa formazione, soprattutto in quelle situazioni di formazione professionale che integrano i diversi saperi acquisiti dall’esperienza, valorizzandoli, come accade in alcune attività di formazione continuata e, in particolare, attività di Estensione Universitaria; l’importanza dell’autonomia del professore nella definizione dei suoi studi, affinchè siano soggetti del suo proprio progetto formativo, avendone la responsabilità; il contributo dell’utilizzo di risorse espressive derivanti dall’esperienza ludica attraverso la ludobiografia per avere un’idea più profonda delle storie della formazione dei professori in relazione al gioco, mettendo in luce più dettagli su questo processo, come se fosse una “sociologia delle assenze”, nei termini di Bonaventura de Sousa Santos; e, infine, il contributo dell’Ermeneutica Filosofica per l’interpretazione dei dati, come modo dialogale di produzione di comprensione. / O objetivo desta Tese é compreender o processo de formação docente em relação à ludicidade, identificando suas condições determinantes, particularmente na universidade. Parte do pressuposto de que uma efetiva articulação entre os saberes docentes e os conhecimentos universitários na formação inicial e continuada docente pode gerar uma universidade mais “hóspita” (termo de Boaventura de Sousa Santos) a processos alternativos de produção de conhecimentos, como aqueles associados à ludicidade. Pretende-se que a compreensão advinda deste estudo – obtida, sobretudo, através do exercício do pensamento complexo tal como preconizado por Edgar Morin e das ideias de Maurice Tardif, Antonio Nóvoa e Bernard Charlot sobre a formação de professores – colabore para a renovação das formas de pensar a formação docente, contribuindo para melhorar a realização de práticas educativas nessa área. Como e por que alguns professores tornam-se capazes de brincar em suas práticas pedagógicas e qual a contribuição possível da universidade para isso é, pois, o problema da pesquisa desenvolvida para esta Tese, que se desdobra nas seguintes questões: a) como e em que condições se constituem as identidades, as subjetividades e os saberes profissionais dos professores que brincam? b) quem são, como e por que brincam os professores que brincam? c) qual a atuação da universidade nesse processo? d) o que configuraria as ações institucionais universitárias de qualificação dos professores na perspectiva lúdica? Com a finalidade de respondê-las, a pesquisa interrogou professores que brincam sobre a sua formação lúdica, criando, no âmbito da metodologia de pesquisa (auto) biográfica em educação e a partir da ludobiografia concebida por Gianfranco Staccioli, um procedimento específico de produção de narrativas em forma de grupo focal denominado encontros ludobiográficos; neles, os oito professores participantes do estudo, selecionados em função da notória presença da brincadeira em suas práticas pedagógicas, contaram suas histórias formativas em relação ao brincar através de atividades lúdico-expressivas. Os dados resultantes, registrados através de fotografias, videogravação e respectiva transcrição, notas de campo e portfólios individuais elaborados pelos professores foram interpretados sob a perspectiva da Hermenêutica Filosófica de Hans-Georg Gadamer. Como resultados, destacam-se: uma melhor compreensão da formação lúdica do professor a partir de seu entendimento como uma complexa constelação de saberes e práticas; a identificação do papel da universidade nessa formação, sobretudo naquelas situações de formação profissional que integram os diferentes saberes construídos pela vida afora, valorizando-os, como ocorre em algumas atividades de formação continuada e, particularmente, nas atividades de Extensão Universitária; a importância da autonomia do professor na definição de seus estudos, no sentido de serem sujeitos de seu próprio projeto formativo, responsabilizando-se por ele; a contribuição do emprego de recursos expressivos oriundos da experiência lúdica através da ludobiografia para prospectar com mais profundidade as histórias de formação dos professores em relação ao brincar, trazendo à superfície dos relatos mais detalhes sobre esse processo, como se fora uma “sociologia das ausências”, no dizer de Boaventura de Sousa Santos; e, finalmente, a contribuição da Hermenêutica Filosófica para a interpretação dos dados, como modo dialogal de produção de compreensão. / The objective of this thesis is to understand the process of teacher training in relation to playfulness, by identifying its determinant conditions, particularly at the university. It assumes that an effective articulation between teacher knowledge and university knowledge in the initial and continuous training of teachers can create a more "hospitable" university (a term of Boaventura de Souza Santos) to alternative processes of knowledge production, such as those associated to playfulness. It is intended that the understanding arising from this study ─ obtained mainly through the exercise of complex thinking as advocated by Edgar Morin and the ideas of Maurice Tardif, Antonio Nóvoa and Bernard Charlot on the training of teachers ─ collaborates in the renewal of ways of thinking teacher training, helping to improve the performance of educational practices in this area. How and why some teachers become able to play in their teaching practices and what is the possible contribution of the university for this is, therefore, the problem of the research conducted for this thesis, which unfolds on the following issues: a) how and under what conditions identities, subjectivities and professional knowledge of teachers who play are constituted? b) who are the teachers who play, how and why do they do that? c) what is the role of the university in this process? d) what would constitute the academic institutional actions of qualification of teachers in a ludic perspective? In order to answer them, the survey asked teachers who play about their ludic training, creating within the (auto) biographical research methodology in education and from the ludic biography conceived by Gianfranco Staccioli, a specific procedure of narrative production in the form of a focal group called ludic biographical meetings; in them, the eight teachers in the study, selected for the notable presence of playfulness in their teaching, told their training stories in relation to playing through expressive ludic activities. The resulting data, recorded through photographs, video recording and its transcript, field notes and individual portfolio prepared by the teachers were interpreted from the perspective of the philosophical hermeneutics of Hans-Georg Gadamer. Some of the results are a better understanding of the ludic training of the teacher from its understanding as a complex constellation of knowledge and practice; identifying the role of the university in teacher education, especially in situations of training involving different kinds of knowledge throughout life, and valuing them, as occurs in some continuing education activities, and particularly the activities of University Extension; the importance of teacher autonomy in defining their studies, to be agents of their own formative project, taking responsibility for it; the contribution of the use of significant resources from the ludic experience through the ludic biography to explore in more depth the stories of teacher training in relation to playing, bringing to the surface of the reports more details on this process, as if it were a "sociology of absences", in the words of Boaventura de Souza Santos; and, finally, the contribution of philosophical hermeneutics to interpret the data, as a dialogic way of production of understanding.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A ideia central da pesquisa foi promover uma aproximação das narrativas visuais de Getúlio Damado e Roger Mello e a partir daí evidenciar os processos cognitivos e as estratégias que envolveram a estruturação de suas identidades sociais e linguagens artísticas contemporâneas, bem como destacar o ludismo e o acesso ao universo da infância e a cultura popular que ambos ressignificam em suas obras. Além disso, buscou-se comentar e avaliar momentos específicos de desprestígio e repúdio versus consagração ocorridos com os artistas. Para tal, essas produções foram contextualizadas como produções culturais em constante processo de mutação, do qual participam tanto eventos históricos como de inovação tecnológica, em contínua construção. Essas linguagens estão submetidas a uma grande velocidade e a superposição de influências. Outro ponto destacado nas analises foi o caráter de subjetividade dessas produções, identificadas como práticas estéticas promotoras de transformação política; de mobilização; ou também por sua capacidade de operar com o uso simbólico dos brinquedos e livros infantojuvenis recuperando-lhes o uso original. Os devaneios, o ludismo infantil e a cultura popular presentes nos objetos feitos de sucata e livros ilustrados foram confrontados com práticas consoantes, ou de discursos abrangentes, correntes no mundo da arte ou outras vezes aproximados de enfoques locais. Além da possibilidade de convergência entre as produções foram destacadas também muitas diferenças, e, sobretudo evidenciadas as potencialidades que podem advir da cultura popular como campo exploratório de pesquisa, bem como de sua ressignificação / The central idea of the research was to reconcile the visual narratives of Getúlio Damado and Roger Mello and henceforth to highlight the cognitive processes and strategies involved in structuring their social identities and contemporary artistic languages, as well as to emphasize the playfulness, and access to the universe of childhood and popular culture to reframe both their works. Additionally, this paper tried to comment and evaluate specific moments of prestige and repudiation versus consecration occurred with these artists. To this end, these productions were contextualized as cultural productions in a constant process of mutation, which involved both historical events and technological innovation in continuous construction. These languages are subjected to a high speed and overlapping influences. Another point emphasized in the analysis was the character of subjectivity of these productions, aesthetic practices identified as promoters of political transformation, mobilization, or also by its ability to operate with the symbolic use of toys and childrens books recovering their original use.. Daydreams, the childish playfulness and the popular culture present in those objects made of waste and illustrated books were confronted with consonant practices or embracing speeches, currents in the world of art or sometimes familiar to local approaches. Besides the possibility of convergence between the productions of the two artists, the research also spotted many differences, and pointed out particularly the potentiality that can come from popular culture as an exploratory field of research, as well as its redefinition

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A ideia central da pesquisa foi promover uma aproximação das narrativas visuais de Getúlio Damado e Roger Mello e a partir daí evidenciar os processos cognitivos e as estratégias que envolveram a estruturação de suas identidades sociais e linguagens artísticas contemporâneas, bem como destacar o ludismo e o acesso ao universo da infância e a cultura popular que ambos ressignificam em suas obras. Além disso, buscou-se comentar e avaliar momentos específicos de desprestígio e repúdio versus consagração ocorridos com os artistas. Para tal, essas produções foram contextualizadas como produções culturais em constante processo de mutação, do qual participam tanto eventos históricos como de inovação tecnológica, em contínua construção. Essas linguagens estão submetidas a uma grande velocidade e a superposição de influências. Outro ponto destacado nas analises foi o caráter de subjetividade dessas produções, identificadas como práticas estéticas promotoras de transformação política; de mobilização; ou também por sua capacidade de operar com o uso simbólico dos brinquedos e livros infantojuvenis recuperando-lhes o uso original. Os devaneios, o ludismo infantil e a cultura popular presentes nos objetos feitos de sucata e livros ilustrados foram confrontados com práticas consoantes, ou de discursos abrangentes, correntes no mundo da arte ou outras vezes aproximados de enfoques locais. Além da possibilidade de convergência entre as produções foram destacadas também muitas diferenças, e, sobretudo evidenciadas as potencialidades que podem advir da cultura popular como campo exploratório de pesquisa, bem como de sua ressignificação / The central idea of the research was to reconcile the visual narratives of Getúlio Damado and Roger Mello and henceforth to highlight the cognitive processes and strategies involved in structuring their social identities and contemporary artistic languages, as well as to emphasize the playfulness, and access to the universe of childhood and popular culture to reframe both their works. Additionally, this paper tried to comment and evaluate specific moments of prestige and repudiation versus consecration occurred with these artists. To this end, these productions were contextualized as cultural productions in a constant process of mutation, which involved both historical events and technological innovation in continuous construction. These languages are subjected to a high speed and overlapping influences. Another point emphasized in the analysis was the character of subjectivity of these productions, aesthetic practices identified as promoters of political transformation, mobilization, or also by its ability to operate with the symbolic use of toys and childrens books recovering their original use.. Daydreams, the childish playfulness and the popular culture present in those objects made of waste and illustrated books were confronted with consonant practices or embracing speeches, currents in the world of art or sometimes familiar to local approaches. Besides the possibility of convergence between the productions of the two artists, the research also spotted many differences, and pointed out particularly the potentiality that can come from popular culture as an exploratory field of research, as well as its redefinition