Tesi sul tema "Multidisciplinary creation"

Dynamic model creation and support for the Lua scripting language was added to the Horizon Simulation Framework used for the verification and validation of system-level requirements. The addition of scripting support allows for subsystem models and their algorithms to be defined using a simpler scripting language, rather than C++. The Luabind library by Rasterbind software is used to expose the C++ algorithms and classes to Lua that are already defined in the framework. Interoperability between Lua and C++ code allows for the ease of use of a scripting language while utilizing the utility classes and functions already created. The dynamic model creation algorithm developed allows for the structure and logic of the simulated system to be defined completely using XML and text files as input to the framework. Dynamic model creation prevents the need to re-compile the framework every time small changes are made and greatly simplifies the changes required to simulate a different model. A runtime analysis shows that using a scripting language does not decrease the performance significantly, while increasing usability and decreasing the time required to set up simulations. Tests where the scripted code uses only classes and function exposed by luabind show that there is virtually no performance decrease when compared to the same algorithms in C++. Performance decreases as more of the algorithm implemented is executed in Lua. An example test scenario that represents the typical use of the framework showed only a minor decrease in performance. The multi-threaded scheduler developed works with the scripting support and allows for modern multi-core or multi-processor computers to be used most efficiently for simulations. This thesis describes the algorithms of dynamic model creation and scripting support, as well as the methodology used to expose C++ code to Lua. This thesis also presents the architecture changes required to support dynamic model creation, scripting support, and multi-threaded scheduling. Finally, runtime results of the added scripting support are presented.

This research describes the relationship between several social network characteristics and knowledge creation outputs in the form of patented intellectual property of researchers by investigating the case of the University of Waterloo. Based on a literature review in the domains of social networks and knowledge creation, this research focuses on the position of knowledge creation between social closure theory and structural hole theory. These are the two seminal theories of the creation of social capital through social networks. From this body of literature, this thesis develops the research question involving five hypotheses. These hypotheses test whether network density, strength of relationships, diversity of relationships, and amount of research funding have a positive correlation with the number of patents held by the researcher, and whether network size has a negative correlation with number of patents held by a researcher. The data for this research comes from a variety of secondary sources including the University's Office of Research, UWDIR online directory, NSERC research awards search engine, and CIPO patent database. Using a combination of social network analysis and statistical regression analysis, this research shows that network density, diversity of relationships, and amount of research funding have a positive correlation with knowledge creation outputs, while network size has a negative relationship with knowledge creation outputs. Understanding the relationship that these social network factors have with the knowledge creation outputs can help the University develop strategies to help improve their knowledge creation processes, thereby putting the University in a stronger position to facilitate the development of patentable ideas and innovations by encouraging the development of research centres and institutes that intersect disciplinary boundaries.

This practice-led research explores the potential of multidisciplinary collaboration as a strategy to break down tacit knowledge and increase individual and group creativity. The auto-ethnographical exegesis documents the development of a major creative work, The Void and the Light and proposes a new collaborative model for the creation of contemporary opera. The knowledge generated from this research offers a practical insight into systematic methods for collaboration and strategies for aesthetic decision making in interdisciplinary ensembles.

The growing importance of introducing unique products to the market has made firms more conscious of organisational knowledge creation. Knowledge creation is recognised to be important in creating and sustaining competitive advantage as well as in meeting organisational goals in modem societies. Multidisciplinary project teams have gained increased popularity owing to their diversity of knowledge resources, drawing upon different organisational functions and professional disciplines. They are viewed as having high potential to innovate due to their heterogeneous nature. Their activities are fundamental to learning within wider organisations, and not just in the form of temporarily disconnected project units. The research empirically investigates the creation of new technical knowledge and develops a conceptual model of the knowledge creation process. It broadens the organisational knowledge creation theory developed by Nonaka and Takeuchi (1995), into the area of multidisciplinary project teams. This research focuses on three major aspects: the key processes that underlie knowledge creation within multidisciplinary project teams, the interrelationships between these key knowledge creation processes and the factors that influence the processes of multidisciplinary knowledge creation. Empirical evidence was collected from a large property development company, using a qualitative case study approach. Two multidisciplinary project teams, working on infra-structural and residential developments, were selected for the in-depth study. The research reviews existing theories of organisational knowledge creation and team processes. It seeks to contribute to the theory of knowledge creation within multidisciplinary project teams through technological innovation or problem solving, by providing an explorative account supported by empirical evidence. Secondly, it contributes to the development of the knowledge creation theory within multidisciplinary project teams by adopting a social construction perspective and by focusing on its processes and their interrelationship. In addition, factors are identified that affect these processes. The proposed framework provides not only for future research to systematically examine and test knowledge creation processes against different backgrounds, but it also allows management to continuously anticipate and support knowledge creation activities related to the successful management of collaborative team projects within their particular organisations.

A computational model of the micro-ion thruster MiXI has been developed, analyzed, and partially verified. This model includes submodels that govern the physical, magnetic, electrostatic, plasma physics, and power deposition of the thruster. Over the past few years, theses have been conducted with the goal of running tests and analyzing the results; this model is used to understand how the thruster components interact so as to make predictions about, and allow for optimization of, the thruster operation. Testing is then performed on the thruster and the results are compared to the output of the code. The magnetic structure of the thruster was analyzed and numerous different configurations generated which were also evaluated by the optimizer and tested. Using the different configurations, models, and optimization tools, the total efficiency of the thruster is theoretically able to reach 69.4%. Operational testing of the thruster at many different throttle settings demonstrated a maximum total efficiency of 45.9 ±24.6%, discharge loss values as low as 109 ±25 eV/ion, and total power required as low as 50.5 ±0.1W to maintain thruster operation with beam extraction. Measurements of the plasma were taken using a Langmuir probe and the interpretation of the tests are used to verify the plasma physics submodel. Power draw measurements and analysis of the throttle inputs during testing are compared to the performance model outputs but were not accurate or consistent enough to fully verify the power deposition and plasma physics models. Analysis of the models and operational testing in this study have led to an increased understanding of the performance and operation of the MiXI-CP-V3 thruster, furthering the effort to create an efficient, flight capable micro-ion thruster.

O preparo e produção de material didático para cursos on-line demanda o trabalho de uma equipe multidisciplinar (com técnicos e especialistas de diferentes áreas) junto aos professores-autores. A organização e o processo de produção são complexos e específicos para cada projeto e instituição de ensino. Nesta pesquisa, o objetivo é analisar como ocorreu o processo colaborativo de produção de material didático no curso semipresencial de Licenciatura em Ciências da USP/UNIVESP (no período de 2013). Este estudo é definido como pesquisa qualitativa, identificada como estudo de caso. Para alcançar os objetivos previstos foi realizada coleta de dados documentais e entrevistas com profissionais que participaram do processo de criação. Para análise dos dados obtidos foi realizado inicialmente o levantamento de posicionamentos teóricos ligados aos principais termos que permeiam o estudo. Por meio de análise de conteúdo foram estabelecidas as relações entre a teoria estudada e os dados coletados. Ao final, conclui-se que, por se tratar de um trabalho em equipe, o conteúdo (texto) original precisa passar por alterações e adequações ao longo de todo o processo até se tornar material didático do curso (em seus diferentes formatos). Vale destacar que esse processo de produção é acompanhado, discutido e validado pelo professor em todas as suas etapas. Como em toda equipe multidisciplinar, a comunicação e as inter-relações entre os profissionais são constantes e significativas para o processo. É nesse contexto de trabalho em equipe (junto ao professorautor) que ocorrem momentos de cocriação didática, resultado de um trabalho colaborativo e de criação. Verificou-se que esse processo de atuação das equipes na produção de material didático tem momentos intercalados de trabalho individualizado e colaborativo. Apesar desse fluxo estar desenhado de forma linear, com etapas predefinidas, é nas inter-relações e trocas de conhecimentos, sugestões e adequações do conteúdo que ocorrem momentos de cocriação. Trata-se de um processo híbrido: linear e de cocriação. Linear em sua estrutura e forma de trabalho e de cocriação como parte natural das relações humanas e da produção coletiva de conhecimento.
The preparation and the production of didactic materials for on-line courses demand a multidisciplinary teamwork (technicians and specialists from different areas) along with teacherauthors. The organization and the process of production are complex and specific for each project and teaching institution. The objective of this research is to analyze how the collaborative process of the didactic material produced in the blended learning course of the Licentiate Degree in Science from USP/UNIVESP (conducted over a certain period of time. Qualitative approach has been adopted for this study, more specifically, a case study research. In order to accomplish our goals, we have conducted data collection by using review of documents as well as interviews with the professionals that participated in the creation process. For the purpose of analyzing the collected data, we have gathered diverse theoretical approaches related to the main topics of this study. By having the content analyzed, a relationship between the studied theory and the data collected has been established. In conclusion, due to the fact that it is the product of a teamwork, the original content (text) needs to go through some changes and adaptations during the whole process until the final version of the didactic material (in all its different formats) is completed. It is important to emphasize that every step during the process of production is attended, discussed and validated by the teacher-author. As in any multidisciplinary teamwork, the communication and the interrelationships are constant and meaningful to the process. It is in this context of teamwork (including the teacher-author) that the didactic co-creation occurs, being the result of collaborative and creation work. It has been verified that the groups worked in intercalated moments throughout the production of the material: as individuals or in collaboration. Despite the fact that there are predefined steps which are supposed to flow in a linear way, co-creation takes place during the interrelationships, the exchange of knowledge and suggestions and the adaptation of the content. It turns out to be a hybrid process: linear and co-creative. Linear in its structure and its way of working and co-creative as a natural part of human relationships and as a collective production of knowledge.

La présente thèse étudie la création en plusieurs arts de quatre écrivains artistes contem-porains : le musicologue italien Alessandro Baricco, le peintre américain Percival Everett, le sculpteur bosnien Nedžad Ibrišimović et le photographe et cinéaste belge Jean-Philippe Toussaint. Notre travail s’intéresse principalement aux enjeux psychologiques des créations qui élar-gissent le champ de leur recherche au-delà du langage verbal. Pour comprendre le rôle de la deuxième discipline par rapport à l’écriture, nous analysons d’abord les caractéristiques gé-nérales de la création telle qu’elle est mise en scène dans l’univers romanesque. En nous inspirant des théories psychanalytiques qui décrivent l’expérience psychique de la symboli-sation à travers le langage, les jeux d’enfant et les arts, nous étudions le processus de la (dé)construction du sens. L’art visuel semble ainsi puissamment stimuler la rencontre avec l’autre. Cette rencontre fait partie de l’expérience de celui qui quitte les structures de sens familières pour s’orienter, mû par le désir, dans un domaine inconnu. Ce dernier rapproche l’artiste d’une identité archaïque dont l’existence est ancrée dans le corps. L’expérience sen-sorielle ouvre sur un aspect invisible du monde réel. Tout en le libérant des schèmes de per-ception conventionnels, ce vécu livre l’artiste à ses profondes angoisses. Créer signifie dès lors trouver un code de l’œuvre qui serait apte à la fois à protéger de l’angoisse et maintenir la liberté de l’être. La création en dispositifs variés s’inscrit dans une recherche qui répond à cette double exigence de la création
This thesis studies the work of four contemporary novelists who express themselves in one or more other artistic fields: Italian musicologist Alessandro Baricco, American painter Per-cival Everett, Bosnian sculptor Nedžad Ibrišimović, and Belgian photographer and filmma-ker Jean-Philippe Toussaint. Our work is interested primarily in the psychological issues of creation that extend themselves beyond verbal language. In order to understand the role of other disciplines compared to writing, we first analyze general features of artistic experience as they are represented in the fictional universes of their novels. Inspired by psychoanalytic theories highlighting the effects that initial experiences of lan-guage learning and childhood games have on later artistic creation, we analyze the artistic act as the transformation of an old sense into a new form, opening the artist up to the world from which he once felt excluded. Our analyses show, for example, that visual arts have a particular role in questioning one’s relation to an alternate nature. Driven by his own desire, the artist abandons the familiar structures of meaning and inevitably arrives at an unknown area. Immersed in this new place, he gets closer to an archaic identity based on carnal nature. The sensorial experience opens him up to an invisible aspect of the real world. On one hand, he is finally liberated from conventional perception, on the other, the experience of something new makes him face his deepest fears. Therefore, creating means finding a code that can both assure protection from primal anxieties while maintaining movement and freedom of being. Creation in several arts is a response to this double demand of artistic ex-pression

La idea es atraer a las organizaciones independientes, que buscan generar actividades culturales, las que se han ido consolidando a lo largo del tiempo dentro de los habitantes, no tan solo de la comuna de Recoleta , sino que también de las comunas periféricas, y que no tienen un lugar estratégico que les de cabida. Es por ello, lo que se busca con el proyecto es generar un lugar que sirva de equipamiento cultural para la comuna de Recoleta, del cual está carente, y por otro lado generar instancias de difusión y de encuentro que acojan nuevas y diversas actividades culturales a nivel metropolitano. El tema entonces, se constituye como un “centro multidisciplinario creativo”, que busca entregar equipamiento, áreas para el desarrollo cultural, y generar un espacio de acogida, donde se puedan realizar actividades espontáneas y recreacionales, con el fin de revitalizar la zona de La Angostura, tornando a ésta como un hito dentro de la comuna de Recoleta que la caracterice y potencie culturalmente a nivel metropolitano

El proyecto consiste en un centro multidisciplinario de creación, producción, investigación y difusión artística que recoge una parte importante de la actividad cultural del centro histórico de Lima e integra de manera cotidiana el arte con la sociedad. El centro multidisciplinario de creación artística busca fomentar la interdisciplinariedad a partir de la integración de las distintas ramas de las artes plásticas, aplicadas, audiovisuales y escénicas en un solo espacio. El énfasis del proyecto esta en la generación de espacios donde todas las disciplinas pueden interactuar entre sí de forma orgánica. Dinamismo, interacción y flexibilidad son los puntos clave en el desarrollo de la propuesta. El edificio se emplaza en un espacio degradado y subutilizado del centro histórico de Lima con un programa que plantea activar este “vacío urbano” mediante la ocupación de distintas dinámicas artísticas presentes en el lugar.
The Project consists in a multidisciplinary center for the creation, production and the artistic diffusion of contemporary art in the local scene of the historic center of Lima. It concentrates the cultural activity of the city center in an interdisciplinary space that integrates the general public in its dynamics. The multidisciplinary center for art creation seeks to stimulate the interdisciplinarity through the integration of the different art disciplines in one building. The emphasis of the project is the generation of spaces where all the art disciplines could interact amongst each other in an organic manner way. Dynamism, Interaction and flexibility are the key points in the development of the proposal. The building is located in a degraded and underused space within the historic center of Lima with a program that activates the “urban void” through the occupation of the different artistic dynamics present in the site.
Tesis

The focus of this study is the underground music scene in Belgrade, Serbia. This work requires the exploration of varied cultural and market factors that have shaped the scene, resulting in its present form. The explored phenomenon is complex and achieving the necessary depth of analysis will involve the use of a wide set of theoretical sources and research methods. The fieldwork includes in-depth interviews, reflective accounts of longitudinal participant observation, data collected through email correspondence, and a large amount of documentary data. Data analysis will be articulated into a single methodology (examined in depth in Chapter 3).

La presente tesis, es un aporte a la temática de innovación en servicios de experiencia aplicado al mundo de la gastronomía creativa. A partir de una profunda revisión de la literatura en la temática de experiencia, se planteó una agenda de investigación, la cual se llevó a cabo a través de un estudio empírico aplicado a las empresas del sector de la gastronomía creativa (restaurantes, catering y pastelerías), dicho estudio permitió poner en evidencia la importancia de los equipos multidisciplinarios que incluye profesionales del sector del arte (artistas) en los procesos de innovación en experiencia y su aplicación al sector de la gastronomía creativa. Se podría decir que la inclusión de profesionales del arte en dichos procesos, permiten dar el paso de una gastronomía creativa a un proceso de gastronomía experiencial. A partir de una pregunta de investigación: ¿Cuál es el rol de los equipos multidisciplinarios del arte en los procesos de innovación en experiencia en el sector de la gastronomía creativa? Se realiza una tesis por contribuciones, las mismas que conforman el cuerpo central de la investigación. -La primera contribución consiste en una revisión de la literatura, que aporta una base sólida sobre las teorías y estudios en temática de la experiencia y su aplicación al sector de los servicios. Así también, indaga en la literatura sobre la participación de los artistas en la gastronomía creativa y en el sector de los servicios. Dicho estado del arte, nos permite encontrar aquel vació en la literatura referente al papel de los profesionales artistas en los procesos de innovación en servicios de experiencia, a su participación en el mundo del sector de la gastronomía y a su inclusión en los equipos multidisciplinarios que demandan este tipo de servicios. -La segunda aportación es un estudio empírico cuantitativo. Se diseña un modelo de ecuaciones estructurales (SEM) el cual se evalúa mediante la técnica PLS. Tiene como objetivo conocer aquellas variables que influyen de manera positiva en los procesos de innovación de los servicios de experiencia en el sector de la gastronomía creativa. Esta contribución evidencia que la variable de mayor influencia en los procesos de innovación en experiencia es “La estructura organizativa para la innovación”. La variable equipos y creatividad, influye de manera indirecta positiva a través de la participación en las áreas creativas. -La tercera contribución, es un análisis descriptivo que permite conocer en la actualidad, como las empresas que innovan en servicios de experiencia gastronómica, conforman sus equipos, si innovan a través de equipos multidisciplinarios y si estos equipos fusionan profesionales de la cocina y profesionales del arte con fin de innovar en servicios de experiencia gastronómica. Con el estudio se concluye, que actualmente existen empresas del sector de la gastronomía creativa que fusionan ambos grupos. Dicha fusión permite a las empresas, establecerse y mantenerse a la vanguardia del mercado experiencial. Sin embargo, no todas las empresas que innovan en servicios de experiencia gastronómica fusionan sus equipos, pero si gran parte de las empresas innovan gracias a la conformación de equipos multidisciplinarios. Los profesionales del arte, aunque no sean fusionados con los equipos de cocina, son parte del proceso de creaciones innovadoras en el sector estudiado. Por lo tanto, se puede decir que: los equipos multidisciplinarios de arte, son un agente de cambio que mantiene a la vanguardia a las empresas que incursionan en procesos de innovación en la gastronomía de experiencias, dicha fusión puede ser la estrategia empresarial, que permite pasar de la gastronomía creatividad a la gastronomía de experiencia. Por otro lado, el surgimiento de empresas que se estructuran y se orientan en vender nuevas sensaciones y emociones gastronómicas y su presencia en el mercado depende de; su filosofía y dinámica innovadora, a la vez que el compromiso de brindar sus clientes y a la sociedad, ambientes que les haga sentirse diferentes y especiales.
The present thesis is a contribution to innovation in the experience services field applied to the creative gastronomy world. Through an empiric study, the importance of the multidisciplinary teams is evidenced. These teams include art professionals (artists) in the experience innovation processes, and its application to the creative gastronomy sector. The inclusion of artists open the way from a creative gastronomy sector to an experiential gastronomy process. Starting from an investigation question: Which is the art multidisciplinary teams' role in the experience innovation processes for the creative gastronomy sector? it is carried out a thesis structured by contributions. The first contribution consists on a revision of the literature, which leaves a solid base on the theories in the experience field and its application to the services sector. This allows us to be aware of the lack, in the literature, of the artists’ role in the services of experience innovation processes, their participation in the gastronomy sector, and their inclusion in the multidisciplinary teams that demand this type of services. The second is a quantitative empiric study. A SEM model is designed and evaluated using PLS technique. This contribution shows that the more influence variable in the experience innovation processes is "The organizational structure for innovation". Also shows that “The teams and creativity” is a variable that influences in a positive indirect way through the participation in creative areas. The third contribution is a descriptive analysis that allows us to know how the companies that innovate in gastronomic experience services compose its teams, if they innovate through multidisciplinary teams, and if these teams fuse kitchen professionals with artists to the end of innovating in gastronomic experience services. The study concludes that some companies of the creative gastronomy sector fuse kitchen professionals with artists, which allows the companies to settle down and to stay to the experiential market vanguard. Therefore, the multidisciplinary art teams are an exchange broker that maintains to the vanguard the companies that enter in the experiences gastronomy innovation processes. This coalition can be the managerial strategy to go from the creativity gastronomy sector to the experiential gastronomy sector.

An ongoing conversation in the Information Systems literature addresses the concern, "How can we conduct research that makes a difference?" A shortage of high-impact research will, over time, challenge the identity and weaken the viability of IS as an academic discipline. This paper presents the systematic high-impact research model (SHIR), an approach to conducting high-impact research. SHIR embodies the insight gained from three streams of high-impact research programs spanning more than 50 years. The SHIR framework rests on the proposition that IS researchers can produce higher-impact contributions by developing long-term research programs around major real-world issues, as opposed to ad hoc projects addressing a small piece of a large problem. These persistent research programs focus on addressing the entirety of an issue, by leveraging multidisciplinary, multiuniversity research centers that employ a breadth of research methods and large-scale projects. To function effectively, SHIR programs must be sustained by academic and practitioner partnerships, research centers, and outreach activities. We argue that SHIR research programs increase the likelihood of high impact research.

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Na presente tese elaborou-se um processo criativo, mediante a observação da expressão corporal durante o transe na festa pública do Xirê em dois terreiros de Candomblé da nação Ketu, em Salvador-Bahia-Brasil. No Xirê se evidenciou a gestualidade do corpo que se observou durante o transe, expressada através da dança, a qual manifesta uma sequência de significados relacionados com a mitologia de divindades denominadas Orixás. O objetivo geral foi interpretar a expressividade do corpo em transe durante a festa do Xirê no Candomblé. Em referência à teoria sobre a criatividade vinculada com a manifestação do transe nesta religião, se considerou que é um dos caminhos tendencialmente novos e singulares, tendo em conta uma base teórica multirreferencial. Em relação as características do objeto de estudo, estabelecemos que a abordagem é qualitativa, e utilizamos a observação participante, tendo como fonte a fotografia que traduz as ações vinculadas a uma realidade pertencente aos acontecimentos investigados, as entrevistas e o diário de campo. A partir das imagens coletadas, tratamos de compreender o transe através da observação e da contribuição de alguns teóricos, realizando assim um processo criativo. Isso permitiu detectar os arquétipos pertencentes às expressões corporais durante a manifestação do transe de três Orixás (Obaluaiê, Ogum e Yemanja), com a finalidade de interpretar uma realidade mediante a criação de imagens e difundir o conhecimento. Elaboraram-se informações que permitiram interatuar com os sujeitos envolvidos na pesquisa, podendo assim desenvolver uma poética criativa. Como resultado se enfatizou a criatividade no Xirê, que se evidenciou durante as danças na gestualidade do corpo em estado de transe. Existe um processo educativo para poder gerir o transe, que geralmente é provocado durante a cerimônia, através da estimulação dos sentidos. Finalmente se ressalta a criatividade do investigador que vem incentivada nos momentos da observação do transe e se evidencia por meio da produção das imagens, onde se enfatiza a performance, a potência e a teatralidade do corpo.
RESUMEN En la presente tesis se elaboró un proceso creativo, mediante la observación de la expresión corporal durante el trance en la fiesta pública del Xirê en dos terreiros de Candomblé de la nación Ketu, en Salvador-Bahía-Brasil. En el Xirê se evidenció la gestualidad del cuerpo que se observó durante el trance, expresada a través de la danza, la cual manifiesta una secuencia de significados relacionados con la mitología de divinidades denominadas Orixás. El objetivo general fue, interpretar la expresividad del cuerpo en trance durante la fiesta del Xirê en el Candomblé. En referencia a la teoría sobre la creatividad vinculada con la manifestación del trance en esta religión, se consideró que es uno de los caminos tendencialmente nuevos y singulares, teniendo en cuenta de una base teórica multirreferencial. En relación a las características del objeto de estudio, establecemos que el abordaje es cualitativo y utilizamos la observación participante, teniendo como fuente la fotografía que traduce las acciones vinculadas a una realidad perteneciente a los acontecimientos investigados, las entrevistas y el cuaderno de campo. A partir de las imágenes recolectadas, tratamos de comprender el trance a través de la observación y la contribución de algunos teóricos, realizando así un proceso creativo. Eso permitió detectar los arquetipos pertenecientes a las expresiones corporales durante la manifestación del trance de tres Orixás (Obaluaiê, Ogum y Yemanja), con la finalidad de interpretar una realidad mediante la creación de imágenes y difundir el conocimiento. Se elaboraron informaciones que permitieron interactuar con los sujetos envueltos en la pesquisa, pudiendo así desarrollar una poética creativa. Como resultado se enfatizó la creatividad en el Xirê, que se evidenció durante las danzas en la gestualidad del cuerpo en estado de trance. Existe un proceso educativo para poder gestionar el trance, que suele ser provocado durante la ceremonia, a través de la estimulación de los sentidos. Finalmente se resalta la creatividad del investigador que viene incentivada en los momentos de la observación del trance y se evidencia por medio de la producción de imágenes, donde se enfatiza la performance, la potencia y la teatralidad del cuerpo.
RESUM Aquesta tesi elabora un procés creatiu mitjanzant l'observació de l'expressió corporal durant l'estat de trànsit, en la festa pública del Xirê en dos terreiros de Candomblé de la nació Ketu, en Salvador-Bahia-Brasil. En el Xirê es va evidenciar la gestualitat del cos que s'observà durant el trànsit, expressada a través de la dansa, la qual manifesta una seqüència de significats relacionats amb la mitologia de divinitats anomenades Orixás. L'objectiu general fou interpretar l'expressivitat del cos en trànsit durant la festa del Xirê en el Candomblé. En referència a la teoria sobre la creativitat vinculada amb la manifestació del trànsit en aquesta religió, es considera que és un dels camins tendencialment nous i singulars, tenint en compte una base teòrica multireferencial. Quant a les característiques de l'objecte d'estudi, establim que l'abordatge és qualitatiu i emprem l'observació participant. S'utilitza com a font la fotografia, que tradueix les accions vinculades a una realitat que pertany als esdeveniments investigats, les entrevistes i el quadern de camp. A partir de les imatges recollides, es tracta de comprendre el trànsit a través de l'observació i la contribució d'alguns teòrics que es van abordar fent servir un procés creatiu. Això va permetre detectar els arquetips pertanyents a les expressions corporals durant la manifestació del trànsit de tres Orixás (Obaluaiê, Ogum i Yemanja), amb la finalitat d'interpretar una realitat mitjançant la creació d'imatges i difondre el coneixement. Es van elaborar informes que van permetre interactuar amb els subjectes relacionats amb la investigació, la qual cosa va permetre desenvolupar una poètica creativa. Com a resultat es va emfatitzar la creativitat del Xirê, que es va evidenciar durant les danses en la gestualitat del cos en estat de trànsit. Existeix un procés educatiu per a poder gestionar el trànsit, que acostuma a ser provocat durant la cerimònia, a través de l'estimulació dels sentits. Finalment, es ressalta la creativitat de l'investigador que ve incentivada en els moments de l'observació del trànsit i s'evidencia per mitjà de la producció d'imatges, on s'emfatitza l'acció artística (performance), la potència i la teatralitat del cos.
RIASSUNTO Nella presente tesi si è elaborato un processo creativo, mediante l’osservazione dell’espressione corporea durante la trance nella festa pubblica del Xirê in due terreiros di Candomblé della nazione Ketu, a Salvador-Bahia-Brasile. Nel Xirê si evidenzia la gestualità del corpo osservata durante la trance, espressa attraverso la danza, la quale manifesta una sequenza di significati relazionati con la mitologia di divinità denominate Orixás. L’obiettivo generale è stato quello di interpretare l’espressività del corpo in trance durante la festa del Xirê nel Candomblé. In riferimento alla teoria della creatività vincolata alla manifestazione della trance in questa religione, si considera che è uno dei cammini tendenzialmente nuovi e singolari, impiegando una base teorica multireferenziale. In relazione alle caratteristiche dell’oggetto di studio, l’approccio è qualitativo, e utilizziamo l’osservazione partecipante, tenendo in conto come fonte la fotografia che traduce le azioni vincolate a una realtà appartenente agli avvenimenti ricercati, alle interviste e al diario di campo. A partire delle immagini raccolte, si cerca di comprendere la trance attraverso l’osservazione e il contributo di alcuni teorici, in questo modo si realizza un processo creativo. Questo ha permesso di scoprire gli archetipi appartenenti alle espressioni corporee durante la manifestazione della trance di tre Orixás: (Obaluaiê, Ogum e Yemanja), con la finalità di interpretare una realtà mediante la creazione di immagini e cosí diffondere la conoscenza. Abbiamo elaborato informazioni che ci hanno permesso interagire con i soggetti coinvolti nella ricerca, potendo così sviluppare una poetica creativa. Come risultato enfatiziamo la creatività nel Xirê, che si é evidenziata durante le danze nella gestualità del corpo in stato di trance. Esiste un processo educativo per poter gestire la trance, generalmente provocato durante la cerimonia, attraverso la stimolazione dei sensi. Alla fine si risalta la creatività del ricercatore che viene incentivata nei momenti dell’osservazione della trance e si evidenzia per mezzo della produzione di immagini, dove si enfatizza la performance, la potenza e la teatralità del corpo.
ABSTRACT In the present thesis, a creative process was elaborated by observing the corporal expression in trance during the public celebration of the Xirê in two terreiros of Candomblé of the nation Ketu, in Salvador-Bahia-Brazil. In Xirê, the dance in trance manifests a sequence of meanings related to the mythology of divinities called Orixás. The general objective was to interpret the expressiveness of the body in trance during the Xirê party in Candomblé. Taking into account a multi-referential theoretical basics, the creativity that is displayed during the dance in trance was considered to be one of the paths, tendentially new and unique. In relation to the characteristics of the object of study, we establish that the approach is qualitative. We use participant observation, talking into account as a source also photographs and interviews. From the collected images and research at hand, we try to understand the trance through observation. This allowed us to detect the archetypes belonging to the body expressions during the manifestation of the trance of three Orixás (Obaluaiê, Ogum and Yemanja), in order to interpret a reality by creating images and spreading knowledge. Information was elaborated that allowed to interact with the subjects involved in the research. In this thesis, the creativity of the dancing in trance state during the dances of Xirê was emphasized as well as the educational process to manage the trance, which is usually triggered during the ceremony. Finally, this thesis highlights the researcher’s creativity, which was stimulated through the observation of the trance and evidenced by the production of images. These photos underline the performance, power and theatricality of this rare and peculiar manifestation of religion, creativity and culture.

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Bolsa Programa de Apoio ao Cidadão - PAC/UNEB
As discussões e análises apresentadas nesta tese trazem à tona questões referentes à definição de economia criativa nos editais das agências de fomentos da Bahia, na gestão do Partido dos Trabalhadores - PT, tema que vem ganhando visibilidade nos espaços de discussão educacional e provocando reflexões sobre as abordagens conceituais, promoção e a gestão das economias criativas no governo Jacques Wagner e suas implicações. É uma pesquisa de investigação que tem como objetivo principal identificar e comparar as abordagens conceituais, de economia criativa, expressas nos documentos oficiais e na literatura, com vistas a propor, a partir do estudo de caso, um conceito que contemple as características brasileiras, correlacionando com as tensões existentes entre o material empírico, dos órgãos de fomento, e os Planos Brasil Criativo e Bahia Criativa. É uma tese desenvolvida com sustentação teórico-metodológica na abordagem qualitativa, tendo como dispositivo de coleta de dados, o levantamento bibliográfico e a pesquisa documental nas instituições de fomento para a economia criativa do estado da Bahia. Dessa forma, surge a questão da pesquisa: Como a economia criativa vem sendo tratada enquanto política pública do Brasil e da Bahia a partir das abordagens conceituais expressas nos documentos oficiais do Governo? No percurso da resposta a essa questão, chegamos as seguintes conclusões: i) a necessidade de aumentar a eficiência dos recursos públicos aplicados no desenvolvimento da Economia Criativa requer a adoção de definições mais claras; ii) essa clareza permitirá ampliar o escopo das políticas, de modo a alcançar atividades que vão para além da cultura; iii) a banalização do termo ‗criativo‘, torna o objeto da Economia Criativa difuso; iv) o setor carece de decisão política que tornem mais claro os limites entre a Economia Criativa e a Economia Cultural e; v) a urgência de uma estrutura política formal para articular as ações governamentais para o setor.
ABSTRACT The discussions and analyzes presented in this thesis bring to the fore questions related to the definition of creative economy in the edicts of the fomentation agencies of Bahia, in the management of the Workers Party - PT, a theme that has gained visibility in the spaces of educational discussion and provoking reflections on the Conceptual approaches, promotion and management of the creative economies in the Jacques Wagner government and its implications. It is a research research whose main objective is to identify and compare the conceptual approaches of creative economy, expressed in the official documents and literature, with a view to proposing, from the case study, a concept that contemplates the Brazilian characteristics, correlating With the tensions existing between the empirical material, the organs of development, and the Plans Brasil Criativo and Bahia Criativa. It is a thesis developed with theoretical and methodological support in the qualitative approach, having as data collection device, the bibliographic survey and the documentary research in the institutions of development for the creative economy of the state of Bahia. Thus, the research question arises: How is the creative economy treated as public policy in Brazil and Bahia based on the conceptual approaches expressed in official government documents? In the course of the answer to this question, we reached the following conclusions: i) the need to increase the efficiency of public resources applied in the development of the Creative Economy requires the adoption of clearer definitions; ii) this clarity will widen the scope of policies so as to achieve activities that go beyond culture; iii) the banalization of the term 'creative', makes the object of the Creative Economy diffuse; iv) the sector lacks a political decision to clarify the boundaries between the Creative Economy and the Cultural Economy; v) the urgency of a formal political structure to articulate governmental actions for the sector.

Ma recherche tend à répondre à des questionnements ayant émergé durant ma pratique de la danse flamenco, depuis ma posture d’étudiante, d’interprète, de chorégraphe, puis de pédagogue. À travers la restitution d’une itinérance sensible entre Lyon, Séville, Madrid et la Chine, j’interroge dans cette thèse ce qui fait flamenco, réévaluant par une méthode déconstructiviste certains discours et gestes qui tendraient à définir ce qui fait centre (poncifs/vérités établies/stéréotypes) dans le flamenco, tout en créant une dialectique avec d’autres figures faisant, elles, d’apparents écarts. Sur ce second point, j’approfondis dans ma recherche plus spécifiquement l’approche flamenco empirique, qu’a élaborée Juan Carlos Lérida au cours de sa trajectoire artistique, afin de rendre compte de la façon dont certaines figures, à la marge du discours dominant dans le flamenco, interrogent l’élasticité des pourtours définitionnels de cette expression artistique. Mon cheminement pratique et théorique avec Juan Carlos Lérida m’a conduit à expérimenter une approche archéologique du geste flamenco en recherche-création, visant à interroger la dynamique de construction de la forme flamenco (identification de survivances formelles, pathos de la fête, poétique de la spirale) sur le plan diachronique et synchronique, mais aussi à m’ouvrir au « palimpseste » comme outil épistémologique. La démarche méthodologique investie pour mener la poétique exploratoire, dont cette thèse rend compte, en plus de l’exercice analytique, critique, s’est également employée à élaborer des objets-créations (performances, vidéos documentaire, vidéodanses, photographies) émanant de champs de compétences croisées afin de défendre une constitution heuristique des savoirs, grâce aux études des processus de création et la mise en réflexivité de l’expérience
My research aims to answer questions that arose from practicing flamenco, initially as a student, then as an interpreter and choreographer and eventually as a teacher. After gathering insightful experiences from Seville, Madrid and China, my thesis addresses the question “what is flamenco?”. Via a deconstructionist method, this study re-evaluates some of the conceptions and body language that tend to define what is central to flamenco (clichés / established truths / stereotypes), while analysing the dialectics of figures who clearly deviate from these central ideas. Thus, my research explores in greater depth and more specifically the empirical approach developed by Juan Carlos Lérida during his artistic career, for a better understanding of how figures straying from the dominant conception of flamenco, test the elasticity of the outer limits of this artistic expression. My practical and theory-based exploration with Juan Carlos Lérida led me to experiment with an archaeological approach to research-creation in flamenco dance, that aimed to analyse the way flamenco expression has developed (identification of the survival of forms, the festive pathos, the poetics of the spiral movement) from both a diachronic and synchronic perspective, but also to embrace the “palimpsest” as an epistemological tool. The methodological approach that led to the exploration of poetics described in this work, along with the analytical and critical exercises, also incited a range of multi-disciplinary creative projects (performances, video documentaries, dance videos, photographs) that defend the heuristic method of gathering knowledge via studying creation processes and reflecting on experiences
Este trabajo pretende responder a ciertas cuestiones que me surgieron en la práctica del baile flamenco siendo estudiante, intérprete, coreógrafa y pedagoga. A través de una restitución de un itinerario sensitivo entre Lyon, Sevilla, Madrid y China, analizo en esta tesis lo que hace que algo sea flamenco reevaluando, mediante un método deconstructivista, ciertos discursos y gestos que buscan definir lo central (tópicos, verdades establecidas, estereotipos) en el flamenco, creando una dialéctica con otras figuras que aparentemente discrepan. En este segundo punto, profundizo en mi investigación más concretamente en la aproximación flamenco-empírica elaborada por Juan Carlos Lérida a lo largo de su trayectoria artística, con el fin de demostrar en que manera ciertas formas al margen del discurso flamenco dominante cuestionan la ductilidad de la definición de esta forma artística. Mi andadura práctico-teórica con Juan Carlos Lérida me ha permitido experimentar una aproximación arqueológica respecto al gesto flamenco en un proceso de investigación-creación con vistas a analizar la dinámica de la forma flamenca (identificación de vestigios formales, pathos de la fiesta, poética de la espiral) desde un punto de vista diacrónico y sincrónico, posibilitando al mismo tiempo a abrirme al “palimpsesto” como herramienta epistemológica. La metodología usada para llevar la poética exploradora expuesta en esta tesis también se ha empleado, además del ejercicio analítico, crítico, para elaborar objetos-creaciones (performances, documentales, video-danza, fotografía) resultantes de campos de competencia cruzados con el fin de defender una constitución heurística de los conocimientos gracias al estudio de los procesos de creación y la reflexión acerca de la experiencia

Relatório de estágio de mestrado em Ciências da Comunicação (área de especialização em Audiovisual e Multimédia)
A metodologia de trabalho de uma agência de publicidade acompanha as exigências do mercado de trabalho onde o trabalho desenvolvido na área da comunicação não é percebido de uma forma segmentada. Por conseguinte, trabalhar de maneira integrada em equipas multidisciplinares temse tornado num novo desafio de mercado, onde o trabalho em sinergia pode traduzir-se num fator diferenciador. O presente relatório pretende ilustrar o estágio integrado no segundo ano do Mestrado em Ciências da Comunicação, realizado na agência de publicidade, Creative Lemons. O relatório começa por descrever e analisar a experiência de trabalho decorrida ao longo dos cinco meses de estágio. Posteriormente, pretende-se analisar, com base em leituras, dados recolhidos e entrevistas exploratórias, a organização de trabalho desenvolvida na empresa, as suas áreas constituintes e de que forma é que os profissionais de cada área desenvolvem as suas funções, integradas num meio colaborativo. Desta feita, com o presente relatório, procura-se o correlacionamento do processo de produção da empresa – envolto num ambiente de trabalho característico, (multidisciplinar e colaborativo), com o fomento da produtividade e, nesse sentido, decorre averiguar se o mesmo constitui uma mais-valia para o funcionamento da empresa. Reunindo um conjunto de noções teóricas acerca do tema e integrando-as nos testemunhos dos profissionais que são protagonistas na empresa, este relatório pretende não só uma análise expositiva do ambiente de trabalho da empresa - e de que forma todos os componentes laborais se relacionam - mas também a reunião de informação útil, que sirva de referência tanto para estudantes de comunicação como para profissionais da área.
The work methodology of an advertising agency follows the demands of the labor market, in which the work developed in the area of communication is not perceived in a segmented way. Therefore, working in an integrated way in multidisciplinary teams has become a new market challenge, where work in synergy can become into a differentiating factor. This report aims to illustrate the integrated stage in the second year of the Master of Science in Communication, held at the advertising agency, Creative Lemons. The report begins by describing and analyzing the work experience that has been achieved during the five-month traineeship. Subsequently, we intend to analyze, based on readings, collected data and exploratory interviews, the work organization developed in the company, its constituent areas and how the professionals of each area develop their functions, integrated in a collaborative environment. This report aims to seek the correlation between the production process of the company - involving a working environment (multidisciplinary and collaborative) - with the promotion of productivity and, it is intended to determine whether it constitutes an added value for the functioning of the company. Bringing together a set of theoretical notions about the subject and integrating them into the testimonies of the professionals who are protagonists in the company, this report intends not only an expositive analysis of the work environment of the company - and in what way all the labor components relate - but also a useful source of information for both communication students and professionals in the field.

Relatório de estágio de mestrado em Ciências da Comunicação (área de especialização em Audiovisual e Multimédia)
Este relatório visa refletir, de modo crítico, os três meses de estágio curricular decorridos na empresa Creative Lemons. Através de um registo analítico e reflexivo, com base em suporte teórico, exemplos práticos e imagens do processo, este relatório aprofundará o tema modelo de gestão horizontal sob a ótica da comunicação, integração e ligações interpessoais na empresa que serviu de apoio para as reflexões deste estudo. O relatório começa por descrever e analisar a experiência de trabalho realizada na empresa Creative Lemons. Posteriormente, pretende-se analisar, com base em leituras e pesquisas, a estrutura, estratégia e as relações da equipe integradas em um ambiente colaborativo. No final será feita uma análise profunda sobre as três atividades mais marcantes da minha experiência.
This report aims to critically reflect the three months of internship at Creative Lemons. Through an analytical and reflective record, based on theoretical support, practical examples and images of the process, this report will deepen the theme horizontal management model from the perspective of communication, integration and interpersonal links in the company that supported the reflection in this study. The report begins by describing and analyzing the work experience at Creative Lemons. Subsequently, we intend to analyze, based on readings and research, the structure, strategy and relationships of the team integrated in a collaborative environment. In the end there will be a thorough analysis of the three most striking activities of my experience.

This report aims to describe the professional experience of a six- months internship of the student Pedro Gomes Ferreira at the Spanish VR company Xperiencia Virtual, from September 2019 to March 2020. The present document describes the student’s experience, the company, and all the projects developed during those six months. Thus, the process of integration in the team, the company’s structure, and the impact of the content created in the digital market are addressed. Afterward, topics related to the evolution of the technologies under study, in particular, Virtual, Augmented, and Mixed Reality technologies are referred and discussed, as well as their advantages, limitations, impact in the world, and what is expected to be their evolution in the future. From an extended analysis of the state-of-art of XR technologies in the different industries, a Draft Functional Model was designed regarding the procedures workflow and company organization ideally involved in the development of an XR project. For its design, the findings obtained through the analysis of three case studies of XR projects developed in the company were also taken into account, allowing them to deconstruct the different tasks of a project. This model was later put to test with an experts’ survey and consequently improved as an Extended and Optimized Functional Model. With this report, the student intends to achieve a Master’s degree in Interaction Design.