Taking my own personal history as a starting point this paper will look at how we inherit culture and in turn shape it through the stories and objects that drive its formation. This extends into how these objects proliferate within our culture and the way in which the passing of History impacts on the way we view them and as a consequence ourselves as individuals and as a group. Identity is then passed on through generations through the act of storytelling, and this process is integral to this research paper. This is also a personal journey, taking place in varying sites, from a rusting car hulk in a back yard in North Canterbury, to a University in Wellington and another rusted car, which has gone through a strange restoration. The Morris Minor has been embraced as a narcissistic object that I have chosen to double in order to explore my individual and wider national cultural history and identity. One of the key themes of this inherited identity is largely based around Nostalgia for an ideal past. This ideal is a fiction, a layering of intended futures as well as a selective past. This works in the same way as the modern artistic preoccupation with gothic histories, but instead of a positive ideal we have the creation of a basement of horrors that lurks beneath the surface. Be it positivist idealism or Gothic inversion, one way of focusing on the way these fictions differ markedly from the reality of the objects existence, is to show the artifice of the stories told by enhancing the components of the story that are already exaggerated, for the Morris Minor this means getting as far away from its existence as a rusting hulk in the backyard as possible. The longing for a past that may or may not exist, is less important as existing in reality but instead for what these fictions supply in their retelling. The concept of the Uncanny is integral to this retelling of memory, in that through a memories reanimation it can only approximate the original event leaving gaps for circumspection and invention. This retelling necessitates a reorientation in the relationship between the teller of the tale and the listener and between the viewer and the object viewed. The research culminates in the alteration of a Morris Minor to appear as one continuous surface. The intention of which is to engage with the differing versions of the objects past through taking an active part in its reconstruction as artwork with the aim of reassessment not only of my individual approach to the object but also the viewers.

Taking my own personal history as a starting point this paper will look at how we inherit culture and in turn shape it through the stories and objects that drive its formation. This extends into how these objects proliferate within our culture and the way in which the passing of History impacts on the way we view them and as a consequence ourselves as individuals and as a group. Identity is then passed on through generations through the act of storytelling, and this process is integral to this research paper. This is also a personal journey, taking place in varying sites, from a rusting car hulk in a back yard in North Canterbury, to a University in Wellington and another rusted car, which has gone through a strange restoration. The Morris Minor has been embraced as a narcissistic object that I have chosen to double in order to explore my individual and wider national cultural history and identity. One of the key themes of this inherited identity is largely based around Nostalgia for an ideal past. This ideal is a fiction, a layering of intended futures as well as a selective past. This works in the same way as the modern artistic preoccupation with gothic histories, but instead of a positive ideal we have the creation of a basement of horrors that lurks beneath the surface. Be it positivist idealism or Gothic inversion, one way of focusing on the way these fictions differ markedly from the reality of the objects existence, is to show the artifice of the stories told by enhancing the components of the story that are already exaggerated, for the Morris Minor this means getting as far away from its existence as a rusting hulk in the backyard as possible. The longing for a past that may or may not exist, is less important as existing in reality but instead for what these fictions supply in their retelling. The concept of the Uncanny is integral to this retelling of memory, in that through a memories reanimation it can only approximate the original event leaving gaps for circumspection and invention. This retelling necessitates a reorientation in the relationship between the teller of the tale and the listener and between the viewer and the object viewed. The research culminates in the alteration of a Morris Minor to appear as one continuous surface. The intention of which is to engage with the differing versions of the objects past through taking an active part in its reconstruction as artwork with the aim of reassessment not only of my individual approach to the object but also the viewers.

Taking my own personal history as a starting point this paper will look at how we inherit culture and in turn shape it through the stories and objects that drive its formation. This extends into how these objects proliferate within our culture and the way in which the passing of History impacts on the way we view them and as a consequence ourselves as individuals and as a group. Identity is then passed on through generations through the act of storytelling, and this process is integral to this research paper. This is also a personal journey, taking place in varying sites, from a rusting car hulk in a back yard in North Canterbury, to a University in Wellington and another rusted car, which has gone through a strange restoration. The Morris Minor has been embraced as a narcissistic object that I have chosen to double in order to explore my individual and wider national cultural history and identity. One of the key themes of this inherited identity is largely based around Nostalgia for an ideal past. This ideal is a fiction, a layering of intended futures as well as a selective past. This works in the same way as the modern artistic preoccupation with gothic histories, but instead of a positive ideal we have the creation of a basement of horrors that lurks beneath the surface. Be it positivist idealism or Gothic inversion, one way of focusing on the way these fictions differ markedly from the reality of the objects existence, is to show the artifice of the stories told by enhancing the components of the story that are already exaggerated, for the Morris Minor this means getting as far away from its existence as a rusting hulk in the backyard as possible. The longing for a past that may or may not exist, is less important as existing in reality but instead for what these fictions supply in their retelling. The concept of the Uncanny is integral to this retelling of memory, in that through a memories reanimation it can only approximate the original event leaving gaps for circumspection and invention. This retelling necessitates a reorientation in the relationship between the teller of the tale and the listener and between the viewer and the object viewed. The research culminates in the alteration of a Morris Minor to appear as one continuous surface. The intention of which is to engage with the differing versions of the objects past through taking an active part in its reconstruction as artwork with the aim of reassessment not only of my individual approach to the object but also the viewers.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Este trabalho pesquisou os usos do Jornal Eletrônico Educação & Imagem, feitos para e por professores da rede pública. As práticas narradas e as imagens trazidas pelos docentes, que são usuários do jornal, nos possibilitou refletir sobre os currículos e os conhecimentos que têm sido tecidos cotidianamente. Para analisar as narrativas e as imagens presentes nos artigos escritos pelos professores foram pesquisados os editoriais redigidos por cada grupo de pesquisa, que faz parte da elaboração do periódico, e a seção Voz do leitor que publica artigos escritos por professores. Este estudo tem suas relações teóricoepistemológicas e teórico-metodológicas com as pesquisas nos/dos/com os cotidianos (Lefebvre, Certeau) que têm permitido compreender as redes de conhecimentos e significações que se dão nos múltiplos cotidianos em que vivemos, entendendoos como contextos educativos. Para falar sobre a importância da narrativa em pesquisa alguns autores como Walter Ong e Nilda Alves embasaram este estudo. Para o tratamento das noções de tecnologia, currículo e imagens dialogamos com os autores Nilda Alves, MartinBarbero, Boris Kossoy, Roberto Macedo, Alice Lopes, Elisabeth Macedo, Arlindo Machado, Pierre Lévy, Edméa Santos e Marco Silva. Dos artigos analisados observei que as imagens utilizadas pelos professores que escreveram para o jornal apresentaram uma multiplicidade de usos. A maioria fez uso de material fotográfico. Em seus artigos temos imagens usadas nos seguintes contextos: como registro de suas atividades com os alunos, como registro/memória autobiográfica, como reflexão da própria imagem apresentada ou como ilustração do texto dentre outros. Ao trabalhar com estas narrativas e imagens temos a oportunidade de discutir como se dá e como se tem desdobrado os usos do periódico eletrônico, possibilitandonos compreender e complexificar sobre outros processos cotidianos, a partir destes que nos é retratado e narrado. / This paper aims to research the uses of the electronic journal Education & Image, made for and by public school teachers. Practices narrated by the teachers who are daily users enable us to reflect on the curriculum and knowledge that have been daily woven. To analyze the narratives contained in articles written by teachers. I focused this work in the editorial written by each research group which is part of the preparation of the journal and in the Readers comments section. This study has its theoretical and epistemological relations and theoretical and methodological approaches to research in / of / with daily life (Lefebvre, Certeau) which have allowed us to understand the network of knowledge and senses that occur in many everyday situations we live in, understanding them as educational contexts. In this sense, we work with the idea that knowledge is woven, too, through the customs and practices that humans create in their daily lives in a different way than we have been taught, in Modernity, in science. Thus, I believe it is necessary and possible search relations practitioners (Certeau) with the many existing cultural artifacts. These will be studied through the uses to which these teachers develop in contact with the newspaper with the images and narratives it contains.

Cette recherche porte sur les conséquences de la création du barrage des Trois Gorges (Chine). Une enquête de terrain menée au cœur du Réservoir, dans le district de Yunyang (Chongqing), a permis d’étudier différents registres interprétatifs et formes de résilience (par sublimation, dramatisation ou immanence) développés tant par les habitants que par les autorités pour appréhender les bouleversements récents et faire face à ce contexte de profonde rupture. Cette étude interroge, d’un point de vue anthropologique, la perception sociale du barrage et de ses conséquences topographiques, écologiques, économiques et sociales (notamment impliquées par le déplacement, l’éclatement social et familial) aussi bien que les processus de reconfigurations territoriales et de reconstruction de l’espace régional et local après la montée des eaux. Elle traite également des modalités de réinscription au sein des territoires transformés, alors que le district est séparé de son ancienne entité administrative régionale de référence, le Sichuan, et qu’une partie de la population est forcée de quitter définitivement la région. Ces thèmes sont envisagés par le biais d’un angle d’approche particulier, celui de la manipulations « d’artefacts culturels ». Le culte rendu aux divinités (et notamment à Zhang Fei, héros national divinisé localement), l’emploi de toponymes, de concepts, le récit d’adages, de mythes, de légendes et de chansons, l’interprétation géomantique et architecturale, ou encore l’évocation portant sur l’histoire, constituent autant de biais, sujets à des interprétations et à des reconstructions circonstancielles de la part des habitants et des autorités, pour mettre en mot le bouleversement et agir sur la nouvelle réalité / This research explores the conceptualization and the experience of the consequences brought about by the Three Gorges Dam (China) construction. Through my fieldwork conducted at the core of the Reservoir, in Yunyang County (Chongqing), I have studied different modalities of interpretation and of resilience developed both by the local population and by the authorities trying to understand and deal with this profound disruption. Through an anthropological point of view, this study analyzes the social perceptions of the Dam, its topographical, ecological, economical and social (forced migration, breaking up of families) consequences. It consider as well the territorial reconfiguration and reconstruction after the rising of the water while the county is being pulled out from its ancient regional administration - Sichuan, and a part of the local population is being forced to leave the county for good. These themes are considered through a specific approach: the analyze of cultural artifacts such as the cults of gods (in particular Zhang Fei, a national hero locally deified), the use of toponyms, concepts, adages, myths, legends, geomancy, or retail of the past. In many ways those ways are interpreted and adapted by the Yunyang people and by its government to “narrate” the upheaval

Ces dernières années la diffusion vidéo "de salon" a connu trois transitions majeures : la compression vidéo aévolué de la norme MPEG2 à la norme h.264, les écrans à tube cathodique ont disparu du marché des téléviseurs quiest actuellement dominé par les écrans à cristaux liquides (LCD) et pour nir le format haute-définition (1280x720pixels ou 1920x1080) supplante de plus en plus le format SD (576x720). Ces évolutions ont modifié l'importancedes différents types de défauts de compression pour la perception de la qualité d'une vidéo. Les défauts majeursde compression vidéo sont désormais le ou et les défauts temporels. Le terme défaut temporel regroupe ici lavariation temporelle de défauts spatiaux comme l'effet de bloc et des défauts spécifiquement temporels comme lebruit de moustique.Nous nous sommes tout d'abord focalisés sur la correction du bruit de moustique. Le correcteur que nousproposons, le TVIF, est adapté aux trois caractéristiques de ce défaut : faible amplitude par rapport au contenulocal, proximité des contours et variation temporelle. Nous avons évalué l'efficacité de notre correcteur avec desmétriques objectives mais, celles-ci ne permettant pas de conclure sur les performances de notre ltre, nousavons organisé une expérience subjective de qualité. Les données recueillies lors de cette expérience indiquentque les observateurs perçoivent notre filtre comme une amélioration et que la version spatio-temporelle de notrecorrecteur est préférée à sa version spatiale. Reboucler sur les évaluations objectives nous permet de conclure queles métriques objectives ne mesurent pas adéquatement la correction du bruit de moustique, ni l'apport de lacorrection spatio-temporelle par rapport à la correction spatiale.Nous avons ensuite organisé une expérience couplant évaluation de qualité (globale et temporelle) et enregistrementsdes positions oculaires des observateurs. Cette expérience nous permet de spécifier plusieurs pointsutiles pour réaliser une métrique objective de qualité temporelle. Par exemple, le défaut le plus gênant pour laperception de la qualité globale est la variation d'effet de bloc, qui doit donc être la priorité d'une métrique dequalité temporelle. L'analyse des mouvements oculaires des observateurs en tâche libre, tâche de qualité globaleet tâche de qualité temporelle montre, entre autres, que la qualité de la vidéo diffusée n'a pas d'influence visiblesur les endroits regardés par les participants mais influence fortement la durée des fixations. / Home video has gone through three major transitions within the past years: from the MPEG2 videocompression norm to the h.264 one, from cathode ray tube screens to liquid crystal display screens andfrom standard definition (576x720) to High-Definition (1280x720 or 1920x1080). Those changes havemodified the importance of each type of compression artifacts for quality assessment, relatively to oneanother. The two main compression artifacts are currently blur and temporal defects, including under thisterm temporal variations of spatial defects and artifacts specifically temporal such as mosquito noise.We first focused on filtering mosquito noise and presented the TVIF, a corrector adapted to this noise:small amplitude compared to the nearest edge, proximity to edges and variation through time. We firsttried to use objective quality metrics to assess the performance of our corrector. As it proved to beinconclusive, we set up a subjective experiment which showed that observers perceived our corrector asan enhancement and that they preferred the spatio-temporal correction to the spatial one. Going backover objective evaluations with the subjective ones showed that the metrics we used correctly assessneither the correction nor the gain in quality of the spatio-temporal correction over the spatial one.We then set up an experiment combining quality evaluation (both global and temporal) and recordings ofeye movements. The aim of this experiment is to specify some key points for designing an objectivetemporal quality metric. One example is that observers found that temporal variations of blocking effectare the most annoying defect global quality and, as such, should be the main focus of a temporal qualitymetric. Analysis of eye-movements of observers during free task, global quality task and temporal qualitytask shows, among other things, that quality has no visible influence on the places observers watch buthighly influences the duration of fixations. The evolutions over time of all the oculomotor parameters(saccades speed, fixation locations and durations) are similar for the three tasks during the first 1 or 2seconds of the videos and that the differences between tasks appear later on. It seems that the task toassess video quality plays a role afterwards on the deployment of visual attention.

A seguinte pesquisa abordará o museu do antigo Instituto São José e suas imagensartefatos para o ensino dos tipos raciais humanos. Em levantamento realizado em museus e acervos localizados em espaços escolares na Região Metropolitana de Porto Alegre verificou-se no acervo da instituição Lassalista localizada em Canoas, a presença de bustos de gesso, representações dos diferentes tipos humanos. A partir deste dado empírico, algumas inquietações surgem em relação aos usos pedagógicos destas cabeças raciais e de como eram utilizadas no ensino. No momento do surgimento dos museus escolares no interior das escolas normais, teorias estavam povoando as discussões dos intelectuais da educação. A Poligenia teve influência nas escolas republicanas brasileiras que no momento moldavam seus currículos. Postulava sobre a existência de diferentes tipos humanos, cuja determinação se comprovava pela relação ou ação de vários genes na espécie. A diferença entre as raças superiores e as inferiores, que seriam fadadas à incivilidade e não poderiam ser responsabilizadas pelos seus atos contraventores eram verificáveis pela ciência. No Brasil, estas discussões teóricas contribuíram para o fortalecimento de uma interpretação sobre a existência de uma raça ideal, desejada à sociedade e justificada sob os prismas científico-biológicos, onde os comportamentos humanos passam a ser gradativamente encarados como resultado imediato de leis naturais e biológicas. Assim, o objetivo desta dissertação é verificar e analisar a utilização das imagens-artefatos (bustos e impressos) no ensino do antigo Instituto São José (La Salle/Canoas), e suas possíveis relações com o método intuitivo. Este estudo supõe que além dos bustos havia outros objetos, tais como os impressos dos livros que eram utilizados com vistas a aproximar os alunos dos tipos raciais, cuja caracterização embasava-se nas teorias científicas do contexto. Para isso, foram analisadas ainda as documentações institucionais, tais como Relatórios de Inspeção, Memórias dos irmãos, Currículos programáticos e demais documentos que exibissem as práticas educativas dos Lassalistas de Canoas. Como resultados pode-se concluir na ampla difusão de imagens sobre os tipos raciais humanos, aliadas à metodologia intuitiva, para o ensino escolar. Essas imagens, sejam bustos ou impressas em livros, foram relevantes para o ensino dos tipos humanos, aproximando os educandos da temática racialista através dos sentidos. / The following research will address the old museum Institute of São José and your images-artifacts for the teaching of human racial types. In a survey conducted in museums and collections located in school spaces in the metropolitan area of Porto Alegre there was in the collection of the Lassalista institution located in Canoas, the presence of plaster busts, representations of different human types. From this empirical data, some concerns arise in relation to the pedagogical uses of these racial heads and how they were used in teaching. At the time of emergence of the school museums within the normal schools, theories were populating the discussions of intellectual education. The Polygeny had influence in Brazilian republican schools at the time shaped their curriculum. Posited on the existence of different human types, whose determination is proved by the relationship or action of various genes in the species. The difference between the superior and inferior races, which would be doomed to incivility and could not be held accountable for their acts offenders were verifiable by science. In Brazil, these theoretical discussions contributed to the strengthening of an interpretation of the existence of an ideal race, desired to society and justified under the scientific-biological prisms, where human behavior become gradually regarded as an immediate result of natural and biological laws. The objective of this work is to check and analyze the use of images, artifacts (busts and printed) in the teaching of the old São José Institute (La Salle/Canoas) and its possible relations with the intuitive method. This study assumes that in addition to the busts were other objects, such as printed books that were used in order to bring together students of racial types, whose characterization underlay on the scientific theories of context. For this, they also analyzed the institutional documentation, such as inspection reports, Memories of the brothers, programmatic resumes and other documents that exhibited the educational practices of Canoas Lasallian. As a result it can be concluded in the wide dissemination of images on human racial types, combined with the intuitive methodology for schools. These images are busts or printed in books, they were relevant to the teaching of human types, approaching the students of racialist issue through the senses.

LIMA, Francisca Josélia Inocêncio de . A criança e os artefatos lúdicos: um estudo etnográfico da cultura lúdica da rua. 2010. 125f. Dissertação (Mestrado em Educação) – Universidade Federal do Ceará, Faculdade de Educação, Programa de Pós-Graduação em Educação, Fortaleza-CE, 2010. / Submitted by Maria Josineide Góis (josineide@ufc.br) on 2012-07-10T13:56:01Z No. of bitstreams: 1 2010_Dis_FJILIMA.pdf: 21517219 bytes, checksum: af20bfaffbbc1991ea2e250fe69b7876 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-10T14:17:36Z (GMT) No. of bitstreams: 1 2010_Dis_FJILIMA.pdf: 21517219 bytes, checksum: af20bfaffbbc1991ea2e250fe69b7876 (MD5) / Made available in DSpace on 2012-07-10T14:17:36Z (GMT). No. of bitstreams: 1 2010_Dis_FJILIMA.pdf: 21517219 bytes, checksum: af20bfaffbbc1991ea2e250fe69b7876 (MD5) Previous issue date: 2010 / This research, continuing to work “Between hands and machines: the logic of building of playful artifacts”, developed as scientific initiation in degree course, tried to understand the relationship of the children with the industrial playful artifacts and crafts artifacts from the modes of play in a specific cultural context, the street. The corpus was composed of the records of the observations of free playful activities developed by children and adults residents in the Coronel Fabriciano Street, in the Granja Portugal district in the periphery of Fortaleza. The use of the case study in education inspired ethnographic research methodology made possible to realize the cultural peculiarities of to play in the context studied. For the analysis of the corpus, we resorted to theoretical categories: modes of play, appropriated by Costa from manners of make of Cearteau, discourse as conceptualized by Bakthin and playful culture, from the perspective inaugurated by Brougère. The results of this study suggests that the nature of the artifacts and the context in which they organize the playful activities playing an important role in the differentiation of modes of play. However, the initiative of the child makes complex this relationships in that it dialogues child with the multiple discourses that pervade the playful practices partly account for the production of the play culture, acting both in dialogue with the previous generation as in the dissemination between peers. / A presente pesquisa, dando continuidade ao trabalho “Entre mãos e máquinas: a lógica de construção dos artefatos lúdicos”, desenvolvido como iniciação científica na graduação, procurou compreender a relação das crianças com os artefatos lúdicos industriais e artesanais a partir dos modos de brincar num contexto cultural específico, a rua. O corpus foi constituído pelos registros das observações das atividades lúdicas desenvolvidas livremente por crianças e adultos residentes na rua Coronel Fabriciano, no bairro Granja Portugal, na periferia de Fortaleza. A utilização do estudo de caso em educação de inspiração etnográfica como metodologia da pesquisa possibilitou perceber as particularidades culturais do brincar em função do contexto estudado. Para a análise do corpus, recorreu-se às categorias teóricas: modos de brincar, adequada por Costa a partir das maneiras de fazer de Certeau; discurso tal como conceituado por Bakhtin e cultura lúdica, na perspectiva inaugurada por Brougère. Os resultados deste estudo sugerem que a natureza dos artefatos e o contexto onde se organizam as brincadeiras jogam um papel importante na diferenciação dos modos de brincar. Porém, a iniciativa da criança complexifica essas relações na medida em que ela dialoga com os múltiplos discursos que perpassam as práticas lúdicas respondendo em parte pela produção da cultura lúdica, atuando tanto no diálogo com a geração precedente quanto na disseminação entre os pares.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Este trabalho pesquisou os usos do Jornal Eletrônico Educação & Imagem, feitos para e por professores da rede pública. As práticas narradas e as imagens trazidas pelos docentes, que são usuários do jornal, nos possibilitou refletir sobre os currículos e os conhecimentos que têm sido tecidos cotidianamente. Para analisar as narrativas e as imagens presentes nos artigos escritos pelos professores foram pesquisados os editoriais redigidos por cada grupo de pesquisa, que faz parte da elaboração do periódico, e a seção Voz do leitor que publica artigos escritos por professores. Este estudo tem suas relações teóricoepistemológicas e teórico-metodológicas com as pesquisas nos/dos/com os cotidianos (Lefebvre, Certeau) que têm permitido compreender as redes de conhecimentos e significações que se dão nos múltiplos cotidianos em que vivemos, entendendoos como contextos educativos. Para falar sobre a importância da narrativa em pesquisa alguns autores como Walter Ong e Nilda Alves embasaram este estudo. Para o tratamento das noções de tecnologia, currículo e imagens dialogamos com os autores Nilda Alves, MartinBarbero, Boris Kossoy, Roberto Macedo, Alice Lopes, Elisabeth Macedo, Arlindo Machado, Pierre Lévy, Edméa Santos e Marco Silva. Dos artigos analisados observei que as imagens utilizadas pelos professores que escreveram para o jornal apresentaram uma multiplicidade de usos. A maioria fez uso de material fotográfico. Em seus artigos temos imagens usadas nos seguintes contextos: como registro de suas atividades com os alunos, como registro/memória autobiográfica, como reflexão da própria imagem apresentada ou como ilustração do texto dentre outros. Ao trabalhar com estas narrativas e imagens temos a oportunidade de discutir como se dá e como se tem desdobrado os usos do periódico eletrônico, possibilitandonos compreender e complexificar sobre outros processos cotidianos, a partir destes que nos é retratado e narrado. / This paper aims to research the uses of the electronic journal Education & Image, made for and by public school teachers. Practices narrated by the teachers who are daily users enable us to reflect on the curriculum and knowledge that have been daily woven. To analyze the narratives contained in articles written by teachers. I focused this work in the editorial written by each research group which is part of the preparation of the journal and in the Readers comments section. This study has its theoretical and epistemological relations and theoretical and methodological approaches to research in / of / with daily life (Lefebvre, Certeau) which have allowed us to understand the network of knowledge and senses that occur in many everyday situations we live in, understanding them as educational contexts. In this sense, we work with the idea that knowledge is woven, too, through the customs and practices that humans create in their daily lives in a different way than we have been taught, in Modernity, in science. Thus, I believe it is necessary and possible search relations practitioners (Certeau) with the many existing cultural artifacts. These will be studied through the uses to which these teachers develop in contact with the newspaper with the images and narratives it contains.

Studiens huvudfokus är volontärer till evenemangsorganisationer kopplat till organisationskultur med inriktning på artefakter. Den ingående problemdiskussionen visar på mycket forskning inom organisationskultur men inte lika stort omfång om just artefakter och dess påverkan på upplevelsen för evenemangsvolontärer. Syftet med studien var att förstå hur evenemangsorganisationer med hjälp av artefakter kan påverka upplevelsen för deras volontärer. Syftet är även att bidra till det kunskapsgap som finns kring artefakters påverkan på volontärer. Genom tre fokusgrupper med totalt 15 informanter har empiri samlats in angående artefakterna kläder, arbetsuppgifter, kommunikation, fysisk miljö och ritualer/ceremonier, som sedan diskuterats och analyserats med hjälp av tidigare forskning och teorier. De tre nivåerna av artefakter; funktionalitet, estetik och symbolik står till grund för diskussionen. Resultatet av studien visar på att artefakter har en stor betydelse på volontärers upplevelse. Funktionaliteten av den fysiska miljön kring volontärerna, tydlig kommunikation och kläderna är det som påverkar volontärernas prestation mest. Den estetiska nivån av artefakter framkallar främst känslor som att vara meningsfull och känna samhörighet. Dessa kan komma från uppskattning från handledare och att känna sig som en grupp på grund av kläderna. Symbolisk betydelse av artefakter visas mest i hur kläderna skapade en känsla av identitetsbyggande, hur olika arbetsuppgifter skapade status och helheten av evenemanget. De mest framträdande faktorerna som artefakterna bidrog till var involvering och samhörighet, engagemang, tydlighet samt uppskattning. Dessa fyra delar uppstod eller saknades beroende på hur väl evenemangsorganisationen använde sig av artefakterna eller inte. Vi har konstaterat att volontärer är en otroligt viktig faktor för evenemangsorganisationer och därför bör de förstå vikten av att erbjuda artefakter på ett sätt som leder till belåtenhet för sina volontärer. / This paper is written in Swedish with main focus on volunteers within event organizations and their connection to organizational culture with orientation on artifacts. A review of the literature in this topic shows mostly studies concerning organizational culture, but the range of studies on artifacts and their effects on event volunteers specifically, does not show as much coverage. The purpose of this study was to understand how event organizations with the help of artifacts can affect the experience of their volunteers. The purpose is also to contribute to the knowledge concerning artifacts effect on volunteers. Data was collected through three focus group interviews with a total of 15 informants concerning the artifacts clothes, duties, communication, physical environment and rituals/ceremonies. The material has then been discussed and analyzed with connection to the literature review and theories. Three levels of artifacts; instrumentality, aesthetics and symbolism are the focus points for discussion. Findings show that artifacts have a great significance on the experience for event volunteers. Where the instrumentality of foremost the physical environment around the volunteers, clear communication and the clothes affect their performance mostly. Feelings evolving from the aesthetic level of artifacts mostly come from appreciation from the supervisors and how good and connected they felt because of the clothes. Symbolically importance of artifacts where mostly shown by the feeling that clothes build group identity, status from different working tasks and the meaning of the event as a total. The most outstanding factors the artifacts contributed to was involvement and fellowship, engagement, clarity and appreciation. These four parts either arose or felt missing depending on how well the event organization used the artifacts or not. We have shown the important part of having volunteers for event organizations and that is why an understanding of how the offering of artifacts can contribute to satisfaction for their volunteers is crucial.