Motivating sustainable goal choices and providing effective feedback

Overconsumption of natural resources and the associated environmental hazards are one of today’s most pressing global issues. In the western world, individual consumption in homes and workplaces is a key contributor to this problem. Reflecting the importance of individual action in this domain, this thesis focuses on studying and influencing choices related to sustainability and energy consumption made by people in their daily lives. There are three main components to this work. Firstly, this thesis asserts that people frequently make ineffective consumption reduction goal choices and attempts to understand the rationale for these poor choices by fitting them to goalsetting theory, an established theoretical model of behavior change. Secondly, it presents two approaches that attempt to influence goal choice towards more effective targets, one of which deals with mechanisms for goal priming and the other of which explores the idea that carefully designed toys can exert influence on children’s long term consumption behavior patterns. The final section of this thesis deals with the design of feedback to support the performance of environmentally sound activities. Key contributions surrounding goals include the finding that people choose easy sustainable goals despite immediate feedback as to their ineffectiveness and the discussion and study of goal priming mechanisms that can influence this choice process. Contributions within the design of value instilling toys include a theoretically grounded framework for the design of such toys and a completed and tested prototype toy. Finally, contributions in designing effective and engaging energy consumption feedback include the finding that negative feedback is best presented verbally compared with visually and this is exemplified and presented within a working feedback system. The discussions, concepts, prototypes and empirical findings presented in this work will be useful for both environmental psychologists and for HCI researchers studying eco-feedback.

Fachada flexível para casa padronizada em condomínios

The employment of flexibility in the design of façades makes them adaptable to adverse weather conditions, resulting in both minimization of environmental discomfort and improvement of energy efficiency. The present study highlights the potential of flexible façades as a resource to reduce rigidity and form repetition, which are usually employed in condominiums of standardized houses; as such, the work presented herein contributes to field of study of architectural projects strategies for adapting and integrating buildings within the local climate context. Two façade options were designed using as reference the bionics and the kinetics, as well as their applications to architectural constructions. This resulted in two lightweight and dynamic structures, which cater to constraints of comfort through combinations of movements, which control the impact of solar radiation and of cooling in the environment. The efficacy and technical functionality of the façades were tested with comfort analysis and graphic computation software, as well as with physical models. Thus, the current research contributes to the improvement of architectural solutions aimed at using passive energy strategies in order to offer both better quality for the users and for the sustainability of the planet

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...