A influência do som na experiência do metaverso a partir do Second Life

Este trabalho de monografia objetiva-se em compreender como se dá a contribuição do som no âmbito do metaverso de forma a contribuir para a experiência. Serão apresentados os principais conceitos relativos a som, paisagem sonora, sound design, realidades imersivas e metaverso. Também será realizada uma introdução ao Second Life, apresentando suas principais características. Este trabalho é do tipo qualitativo e utiliza as técnicas de pesquisa bibliográfica e documental, além da observação não-participante. O embasamento teórico compõe-se essencialmente pelas abordagens de Schafer (2011), Castanheira e Coelho (2012), Paludo (2017), Sinclair (2020), Kirner e Siscouto (2007), Kirner e Tori (2006), Winters (2021), Griffin (2022) e Patterson (2021). Com essa pesquisa, foi possível observar que a utilização do som é capaz de influenciar no nível de imersão de um metaverso, podendo gerar experiências negativas quando mal aplicado. Dessa maneira, a aplicação correta do som no metaverso mostrou-se essencial para a criação de ambientes imersivos.This monograph aims to understand how sound contributes to the metaverse in order to contribute to the experience. The main concepts related to sound, soundscape, sound design, immersive realities, and metaverse will be presented. An introduction to Second Life and its main features will be also brought. This work is qualitative and uses the techniques of bibliographic and documental research, in addition to non-participant observation. The theoretical basis consists essentially of the approaches of Schafer (2011), Castanheira and Coelho (2012), Paludo (2017), Sinclair (2020), Kirner and Siscouto (2007), Kirner and Tori (2006), Winters (2021), Griffin (2022) and Patterson (2021). Through this research, it was observed that the use of sound is able to influence the immersion level of a metaverse, which can generate negative experiences when poorly applied. Thus, the correct application of sound in the metaverse proved to be essential for the creation of immersive environments

A conceptual framework for negotiating public involvement in municipal waste management decision-making in the UK

The technical expertise that politicians relied on in the past to produce cost-effective and environmentally sound solutions no longer provides sufficient justification to approve waste facilities. Local authorities need to find more effective ways to involve stakeholders and communities in decision-making since public acceptance of municipal waste facilities is integral to delivering effective waste strategies. This paper presents findings from a research project that explored attitudes towards greater levels of public involvement in UK waste management decision-making. The study addressed questions of perception, interests, the decision context, the means of engagement and the necessary resources and capacity for adopting a participatory decision process. Adopting a mixed methods approach, the research produced an empirical framework for negotiating the mode and level of public involvement in waste management decision-making. The framework captures and builds on theories of public involvement and the experiences of practitioners, and offers guidance for integrating analysis and deliberation with public groups in different waste management decision contexts. Principles in the framework operate on the premise that the decision about ‘more’ and ‘better’ forms of public involvement can be negotiated, based on the nature of the waste problem and wider social context of decision-making. The collection of opinions from the wide range of stakeholders involved in the study has produced new insights for the design of public engagement processes that are context-dependent and ‘fit-for-purpose’; these suggest a need for greater inclusivity in the case of contentious technologies and high levels of uncertainty regarding decision outcomes

In This Time and Place

I seek out and spend time in relatively wild outdoor locations and create art based on my observations. The resulting work explores time and place, while the creation of the work increases my engagement with the environment. This process serves as a reminder that time is relative and life itself is continuous. I start by finding time in locations where nature has been given a chance to thrive and where the sound of human activity is at a minimum. During these retreats, I use my senses to absorb information and document the experience by journaling, making recordings, taking photographs, drawing, painting, or a combination of these methods. After returning from the retreat, I allow time for the experience to distill before creating the work. The studio process prolongs my engagement with the subject. Paintings are typically completed over the course of several days to several weeks, allowing for a variety of working methods. I allow the scale, medium and method to be determined by my current interests and curiosities, while the subject remains grounded in the retreat. The reworking of a painting or a section of a painting can result in multiple variations of the subject. When immersed in a wild place, it’s easy to imagine that it is a different decade or a different century. I maintain this illusion by deliberately omitting human artifacts in my art, leaving only natural markings of time. I take comfort in envisioning what might be happening concurrently in those quiet places, and I also reflect on what they might be like in the future, but above all, this thesis exhibition is about engaging with the environment for the purpose of being present, in this time and place. Advisor: Aaron Hol