O foco principal deste estudo volta-se para a fala no jogo dramático, a fala que acrescenta ao significado semântico a expressão sonora, sua musicalidade. O caminho que leva a este estudo, no entanto, é fundamental para sua compreensão. A sensibilidade, a invenção, presentes nos jogos e brincadeiras durante minha infância, prosseguiram até a concretização da vida profissional. A EMIA, Escola Municipal de Iniciação Artística, é o lugar que, além de apresentar estas características, estimulou a pesquisa constante. A Música, área da minha formação, pôde ampliar seus limites e adentrar o universo do Teatro. A pesquisa da sonoridade da fala no jogo dramático apoia-se em procedimentos da música contemporânea, acompanhando o mesmo foco enfatizado por Jean-Pierre Ryngaert a respeito da utilização dos procedimentos teatrais. Ryngaert é uma referência central neste estudo. O grupo que se apresenta como objeto experimental da pesquisa é formado por alunos da FAAM, da Licenciatura e do Bacharelado de Canto. Além de o trabalho estar diretamente voltado para a materialidade sonora e expressiva da fala, este estudo também aponta para possibilidades no campo da Educação Musical. A poesia é a matéria prima que dará corpo à nova materialidade durante as improvisações. É a partir das discussões com os alunos na \"Roda de conversa\" que o texto poético vira fala e que a fala vira pura poesia. A \"Roda de conversa\" instala-se como grande forma neste estudo, na medida em que se alastra fora da sala de aula e passa a criar um espaço ainda mais amplo, incluindo o diálogo com as vozes dos autores escolhidos como convidados nesta grande roda. O jogo dramático concebido por Ryngaert, enriquecido pela pesquisa sonora da fala aqui apresentada, busca a possibilidade da ampliação do universo sensível e artístico dos participantes através da integração de duas linguagens artísticas, o Teatro e a Música. O campo de pesquisa que acolhe este estudo é o Ensino da Arte. / The main focus of this study directs itself to the speech in the dramatic play. The speech that adds to the semantic meaning its own sound expression, its musicality. The way taken to this study, however, is fundamental or essential to understand it. The sensibility and the invention, both present in the plays and games of my childhood have evolved to the concretion of my professional life. EMIA, the Municipal School of Artistic Initiation, is the place that has not only accepted these characteristics but also stimulated this constant research. Music, my major, could expand its limits and get into the Theatre universe. The research on the sonority of the speech in the dramatic play sustains itself over contemporary music procedures, accompanying the same focus emphasized by Ryngaert, who is the main reference in this study, in the use of theatrical procedures. The group presented here as the experimental SUBJECT of this research is formed by bachelor and undergraduate students of FAAM. Besides the fact that this work is faced to the speech\'s sound and expressive materiality, it is also sustained over educational aspects, showing opening possibilities in the Educational Music field. Poetry is the feedstock/raw material that will shape up the new materiality that will rise over the improvisations. It is from the discussion process made with the students in the \"Conversation Circle\" that the poetic text becomes speech, and the speech becomes pure poetry. The \"Conversation Circle\" settles itself as the major form in this study; it spreads out of the classroom and starts to create an even wider space, which includes dialogs with the chosen authors\' voices as guests in this great circle. The dramatic play as conceived by Ryngaert, enriched by the sound research of the speech which is presented here seeks a possibility to extend the sensitive and artistic universe of the participants through the integration of these two distinct artistic languages: The Theatre and Music. The Field research that determinates this study is the Teaching Art.

O foco principal deste estudo volta-se para a fala no jogo dramático, a fala que acrescenta ao significado semântico a expressão sonora, sua musicalidade. O caminho que leva a este estudo, no entanto, é fundamental para sua compreensão. A sensibilidade, a invenção, presentes nos jogos e brincadeiras durante minha infância, prosseguiram até a concretização da vida profissional. A EMIA, Escola Municipal de Iniciação Artística, é o lugar que, além de apresentar estas características, estimulou a pesquisa constante. A Música, área da minha formação, pôde ampliar seus limites e adentrar o universo do Teatro. A pesquisa da sonoridade da fala no jogo dramático apoia-se em procedimentos da música contemporânea, acompanhando o mesmo foco enfatizado por Jean-Pierre Ryngaert a respeito da utilização dos procedimentos teatrais. Ryngaert é uma referência central neste estudo. O grupo que se apresenta como objeto experimental da pesquisa é formado por alunos da FAAM, da Licenciatura e do Bacharelado de Canto. Além de o trabalho estar diretamente voltado para a materialidade sonora e expressiva da fala, este estudo também aponta para possibilidades no campo da Educação Musical. A poesia é a matéria prima que dará corpo à nova materialidade durante as improvisações. É a partir das discussões com os alunos na \"Roda de conversa\" que o texto poético vira fala e que a fala vira pura poesia. A \"Roda de conversa\" instala-se como grande forma neste estudo, na medida em que se alastra fora da sala de aula e passa a criar um espaço ainda mais amplo, incluindo o diálogo com as vozes dos autores escolhidos como convidados nesta grande roda. O jogo dramático concebido por Ryngaert, enriquecido pela pesquisa sonora da fala aqui apresentada, busca a possibilidade da ampliação do universo sensível e artístico dos participantes através da integração de duas linguagens artísticas, o Teatro e a Música. O campo de pesquisa que acolhe este estudo é o Ensino da Arte. / The main focus of this study directs itself to the speech in the dramatic play. The speech that adds to the semantic meaning its own sound expression, its musicality. The way taken to this study, however, is fundamental or essential to understand it. The sensibility and the invention, both present in the plays and games of my childhood have evolved to the concretion of my professional life. EMIA, the Municipal School of Artistic Initiation, is the place that has not only accepted these characteristics but also stimulated this constant research. Music, my major, could expand its limits and get into the Theatre universe. The research on the sonority of the speech in the dramatic play sustains itself over contemporary music procedures, accompanying the same focus emphasized by Ryngaert, who is the main reference in this study, in the use of theatrical procedures. The group presented here as the experimental SUBJECT of this research is formed by bachelor and undergraduate students of FAAM. Besides the fact that this work is faced to the speech\'s sound and expressive materiality, it is also sustained over educational aspects, showing opening possibilities in the Educational Music field. Poetry is the feedstock/raw material that will shape up the new materiality that will rise over the improvisations. It is from the discussion process made with the students in the \"Conversation Circle\" that the poetic text becomes speech, and the speech becomes pure poetry. The \"Conversation Circle\" settles itself as the major form in this study; it spreads out of the classroom and starts to create an even wider space, which includes dialogs with the chosen authors\' voices as guests in this great circle. The dramatic play as conceived by Ryngaert, enriched by the sound research of the speech which is presented here seeks a possibility to extend the sensitive and artistic universe of the participants through the integration of these two distinct artistic languages: The Theatre and Music. The Field research that determinates this study is the Teaching Art.

Aesthetic criticism very often has been overlooked and considered a lesser form. However, many interpretations, applications and discernments can be obtained from this kind of art writing. Using Osvaldo Sánchez's work as a case study, this thesis examines how writerly art criticism offers an active reading framework of the work of art by using philosophical, literary and poetic constructions. In this regard, I will see how the "writerly" condition has contributed compelling insights to the History of Aesthetics, highlighting the connections and disconnections between Sánchez and other writerly critics, which demonstrates the significance of developing a flexible, available and aesthetic learning model of art appreciation. I will analyze as well various models of experience, subjective and objective, that release certain "openness" as a premise for their existences. Here are included the Kantian sublime, Heidegger's ontological Being, the surrealist cultivation of chance, Kaprow's happenings, and the attitude of disinterest developed by the vanishing poets as defended by the scholar Rafael Hernández Rodríguez. I will show that, by choosing an accommodating approach to discover forms of knowledge, an assortment of valuable empirical content can be found. Finally, I investigate the writerly work of Cuban critic Osvaldo Sánchez that does not adopt a fixed critical pattern. Instead, Sánchez's art writing passes through fields, providing us with a heuristic methodology in which the aesthetic emerges not as a preconditioned set of principles/procedures, but as a true lived experience.

CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Por acreditarmos que a utilização de uma metodologia divertida e recreativa auxilia a criança e o adolescente a obterem melhor desempenho na aprendizagem, a presente pesquisa teve como objetivo a aplicação de atividades lúdicas, pautadas no ensino do léxico e no uso do dicionário como instrumento de consulta pedagógica, numa turma de sétimo ano do ensino fundamental II da rede municipal de Uberlândia, Minas Gerais. Nosso trabalho justificou-se pela necessidade de uma intervenção prática para uma efetiva ampliação da competência léxica dos estudantes, posto que, de acordo com diversos pesquisadores, pouca atenção tem sido dada ao ensino de vocabulário nas escolas ou este tem se mostrado ineficiente. Dessa forma, ao elaborarmos e aplicarmos as atividades lúdicas, esperávamos que os alunos tivessem seu vocabulário ativo ampliado, desenvolvessem maior autonomia na aprendizagem do léxico e pudessem manusear o dicionário escolar com mais eficiência, reconhecendo sua proposta lexicográfica e compreendendo melhor sua composição. Para alcançarmos nosso propósito, buscamos referências teóricas voltadas para os campos da Lexicologia, da Lexicografia e da Lexicografia Pedagógica, para o ensino do léxico e para o lúdico como recurso facilitador da aprendizagem. Nossa pesquisa teórica pautou-se nos Parâmetros Curriculares Nacionais (PCNs) e nos estudos de Barbosa (1990), Biderman (2001), Ilari e Cunha (2011), Antunes (2012), Dias (2004), Welker (2011), Krieger (2011), Gomes (2011), Almeida (1994), dentre outros autores. Descrevemos também os dados por meio de gráficos e quadros para detecção das informações que embasaram nossas ações e fundamentaram a elaboração das atividades lúdicas. Em relação à metodologia, baseamo-nos no método pesquisa-ação, proposto por Thiollent (1986) para elaborarmos as etapas a serem seguidas. Diante do resultado da pesquisa, concluímos que estratégias lúdicas, além de despertarem o interesse dos educandos pela aprendizagem, podem ser, de fato, um recurso pedagógico para o ensino vocabular. Pudemos comprovar isso, pois percebemos que, depois da aplicação das atividades, as palavras estudadas passaram a ser utilizadas pelos estudantes em diferentes momentos de interação em sala de aula. / Due to our belief that a fun and recreational methodology helps children and adolescents achieve better learning performance, this research aimed to carry out playful activities with the purpose of teaching lexicon and using dictionaries as an educational reference tool. This study took place in a seventh grade class of an elementary school in the city of Uberlândia, Brazil. The need of a practical intervention that effectively increases student’s lexical competence justifies this work, since several researchers believe that vocabulary teaching in schools has been undervalued and inefficient. With the development and application of playful activities, students were expected to broaden their active vocabulary, build up greater autonomy in lexicon learning, and use dictionaries more efficiently, acknowledging its lexicographical purpose and better understanding its structure. Our theoretical references focused on teaching of lexicon and application of playful activities as an enabler for learning, and were based on the fields of Lexicology, Lexicography and Pedagogical Lexicography. The theoretical research was guided by the National Curricular Parameters (NCPs) of the Brazilian government, as well as on the studies of Barbosa (1990), Biderman (2001), Ilari and Cunha (2011), Antunes (2012), Dias (2004), Welker (2011), Krieger (2011), Gomes (2011), Almeida (1994), among other authors. The data collected was described by means of graphs and charts in order to track down information that supported our actions and the development of playful activities. The steps elaborated and followed on this research were based on Thiollent’s (1986) action research methodology. The results show that playful activities not only raise student’s interest for learning, but can also be used as an educational resource for teaching vocabulary. This was evidenced after such activities were carried out, since students used the words studied in different moments of interaction in the classroom. / Dissertação (Mestrado)

Submitted by Nadir Basilio (nadirsb@uninove.br) on 2016-06-09T15:22:48Z No. of bitstreams: 1 Eduardo Gasperoni de Oliveira.pdf: 1855643 bytes, checksum: 4757a28c5650ba42bcede30a7efcc976 (MD5) / Made available in DSpace on 2016-06-09T15:22:48Z (GMT). No. of bitstreams: 1 Eduardo Gasperoni de Oliveira.pdf: 1855643 bytes, checksum: 4757a28c5650ba42bcede30a7efcc976 (MD5) Previous issue date: 2016-03-29 / This work has as object the well thinking in kindergarten. We aimed to elucidate about the thinking activity about children. This objective supports herself a specificity: seek grants that show and define educational practices intended at early development of well thinking. The bibliographical research is guided in legal documents on early childhood education and in Dewey's ideas (1959), Lipman (1994, 1995, 1997) and Vygotsky (1991, 1989, 2005) in order to find answers to the following questions: What paths can be taken in kindergarten in order to have an education characterized by the idea of stimulating thought? Children think, but how can be potentiated the initial reflexive practices of the reality that surrounds them; it means, how gradually think more elaborately? With the assumption that the question is striking in the infant universe through the astonished questions, what are evidence demonstrating this feature has been exploited in order to the child think well? The research points out that the usual pedagogical practices, mostly reveal a child's conception understood as a being who is not able to think critically and reflectively. It is thought that this way of thinking should be changed and it is expected that this work will contribute to this. In this way, Early Childhood Education Schools can and should be environments where it provides the development and cultivation of thought. At this stage, the role of the educator becomes very important in identifying and taking advantage of what attracts and delights the child, finding strategies and resources to make the child be enchanted, wants to learn, wants to engage in the discovery process, research and thought. Among these features, relevant to the development of well thinking, this reflection brings considerations about the playful, storytelling and conversation wheel. / Esta tesis tiene como objeto el pensar bien en la Educación infantil y tuvo como objetivo general dilucidar sobre la actividad pensante de los niños. Tal objetivo se ampara en un carácter específico: obtener las subvenciones que señalen y definan prácticas educativas volcadas al desarrollo inicial del acto de pensar bien. La investigación de carácter bibliográfico se basa en documentos legales sobre la Educación Infantil y en las ideas de Dewey (1959), Lipman (1994, 1995, 1997) y Vygotsky (1991, 1989, 2005) con la finalidad en la búsqueda de respuestas a las preguntas que siguen: ¿Qué caminos se pueden tomar en la Educación Infantil para que haya una educabilidad guiada por la idea de estimular el pensamiento elaborado? Los niños piensan, ¿pero cómo se puede potenciar las prácticas reflexivas iniciales sobre la realidad que les rodea?; es decir, ¿cómo, gradualmente, pensar de manera más elaborada? Partiendo del presupuesto que el cuestionar hace parte del universo infantil por medio de las preguntas sorprendentes, ¿cuáles son los indicadores que evidencian que esta característica ha sido explotada de manera que el niño vaya a pensar bien? La investigación señala que, las prácticas pedagógicas habituales, en gran parte, revelan la concepción de un niño entendido como un ser que aún no es capaz de pensar de manera crítica y reflexiva. Se cree que esta forma de pensar se debe cambiar y se espera que este trabajo contribuya para ello. Por lo tanto, las Escuelas de Educación Infantil pueden y deben ser realmente ambientes que propicien el desarrollo y el cultivo del pensamiento. En este sentido, es relevante el papel del educador en la identificación y aprovechamiento de lo que atrae al niño, en la búsqueda de estrategias y recursos para hacer que el niño se encante, quiera aprender, quiera empeñarse en los procesos de descubrimiento, de investigación y de pensamiento. Entre los recursos considerados esenciales para el desarrollo del pensar bien, esta reflexión trae consideraciones sobre lo lúdico, la narración de historias y la ronda de conversación. / Esta dissertação tem como objeto o pensar bem na Educação Infantil. Teve como objetivo geral elucidar a respeito da atividade pensante das crianças. Tal objetivo se ampara numa especificidade: buscar subsídios que apontem e definam práticas educativas voltadas ao desenvolvimento inicial do pensar bem. A pesquisa de cunho bibliográfico se pauta em documentos legais sobre a Educação Infantil e nas ideias de Dewey (1959), Lipman (1994, 1995, 1997) e Vygotsky (1991, 1989, 2005) a fim de buscar respostas aos questionamentos que seguem: Quais caminhos podem ser trilhados na Educação Infantil para que haja uma educabilidade pautada na ideia do estímulo ao pensamento elaborado? Crianças pensam, mas como podem ser potencializadas as práticas reflexivas iniciais sobre a realidade que as cerca; ou seja, como pensar paulatinamente de forma mais elaborada? Tendo como pressuposto que o questionamento é marcante no universo infantil por meio das perguntas maravilhadas, quais são os indícios constatadores de que essa característica tem sido explorada para que a criança venha a pensar bem? A pesquisa aponta que, as práticas pedagógicas usuais, em sua maioria, revelam uma concepção de criança entendida como um ser que ainda não é capaz de pensar de modo crítico e reflexivo. Pensa-se que esta maneira de pensar deva ser mudada e espera-se que este trabalho contribua para isso. Assim, as escolas de Educação Infantil podem e devem ser ambientes realmente propiciadores do desenvolvimento e cultivo do pensamento. Nesta direção, torna-se relevante o papel do educador na identificação e no aproveitamento daquilo que atrai e encanta a criança, descobrindo estratégias e recursos para fazer com que a criança se encante, queira aprender, queira se empenhar nos processos de descobertas, de investigação e de pensamento. Dentre esses recursos, considerados relevantes para o desenvolvimento do pensar bem, esta reflexão traz considerações sobre o lúdico, a contação de história e a roda de conversa.

El cáncer es una dura enfermedad que aqueja sin discriminar edad, sin embargo, se ha comprobado la superación de esta enfermedad se da con mejores probabilidades en niños. El proyecto busca desde la perspectiva arquitectónica otorgar a los usuarios una mejor calidad de servicio durante el proceso de su enfermedad, el tiempo en que la persona se encuentra en atención ambulatoria u hospitalizado. El diseño, los espacios y su integración visual otorgará una mejor calidad en el proceso de su enfermedad. Diseño de espacios que permitan la orientación al desarrollo cotidiano del paciente y el acompañamiento familiar, creando y fortaleciendo el vínculo familiar muy importante para la superación de este proceso. Todo esto teniendo como base la correcta y eficaz funcionalidad que requiere un Hospital. Otorgando espacios necesarios para que los usuarios puedan desarrollar actividades cotidianas, jugar, estudiar y relacionarse con otros niños, esto con el fin de lograr que el ciclo de vida cotidiano en un niño no se detenga y así tener una mejor recuperación en un espacio de confort al que puedan llamar Hogar. / Cancer is a long-lasting disease that affects regardless of age that afflicts without discriminate age, however it has been proven that overcoming this disease is more likely in children. This project seeks from an architectural perspective provide users with a better service’s quality during the process of the illness, the range of time the person is in outpatient or inpatient care. The design, the spaces and their visual integration will provide a better quality in the process of the illness. Design of spaces that obtain orientation to the daily development of the patient and family support, creating and strengthening the very important family bond for overcoming this process. All of this based on the correct and effective functionality that a Hospital requires. Giving necessary spaces for users can develop daily activities like play, study and interact with other children, this in order to ensure that the daily life cycle in a child does not stop and they can have a better recovery in a space of comfort that they can call home. / Tesis

This study explored undergraduate and graduate students' attitudes toward the pleasurability of educational gamification in online learning environments. The study is a sequential explanatory mixed-methods research that investigated students' attitudes quantitatively, then qualitatively. In the quantitative phase, an online survey, the Pleasurable Learning Experiences scale (PLLEXs), was administrated at one of the largest public southwestern universities in the U.S. (N = 119). The qualitative phase involved conducting eight semi-structured interviews with selected participants. The PLLEXs uses a 4-point Likert scale that encompasses 4 subscales: (a) Preferences for Instructions, (b) Preferences for Instructors' Teaching Styles, (c) Preferences for Activities, and (d) Preferences for Learning Effectiveness. A series of analyses of variances (ANOVAs) were used to identify predictors of students' overall attitudes toward educational gamification. The main findings were: (a) students had strong preferences toward educational gamification with Preferences of Instructions rated the highest subscale and Preferences for Activities rated the lowest subscale, (b) major was a statistically significant predictor of students' attitudes toward educational gamification, (c) international students had statistically significant lower preferences toward educational gamification compared with U.S. domestic students, (c) online learning experiences measured by the number of previous online courses and the number of hours spent weekly on computers for academic-related work were statistically significant predictors of students' attitudes toward educational gamification, (d) instructor's feedback was the most important aspect and online collaboration was the most challenging aspect in online learning environments, and (e) the use of multimedia in LMSs can support or hinder teaching and learning activities.

La perspective écologique qui s’est développée en criminologie adopte une notion implicite de la spatialité qui réduit l’environnement à un simple site géographique et exclut les rapports de pouvoir, les dynamiques sociales et culturelles ainsi que les valeurs qui y sont véhiculées. La présente étude interroge donc l’importance de l’espace géographique en criminologie. Elle se penche particulièrement sur le rôle de l’espace dans la (re)production et la régulation d’illégalismes et de déviance ludique ainsi que sur la production du savoir par le biais du concept de liminalité compris comme un espace-temps symbolique. Pour exposer le concept de liminalité, la thèse repose sur une ethnographie de 5 mois et demi réalisée dans deux villes balnéaires du Costa Rica. Elle montre comment les pratiques néolibérales de l’industrie touristique créent un espace liminaire qui répond aux quêtes d’exotisme, mais surtout de sens et d’authenticité recherchées par les touristes qui souhaitent rompre avec leur vie quotidienne. Alors qu’un pan de la littérature scientifique considère la liminalité comme un espace où les normes quotidiennes sont suspendues, cette thèse suggère que les touristes adhèrent aux normes présentes dans cet espace, soit à celles qui reposent spécifiquement sur la consommation d’un hédonisme agressif. Cela les mène à une consommation d’alcool et de drogues ainsi qu’à une sexualité dites hors de l’ordinaire. S’inscrivant dans une approche interdisciplinaire, cette étude emprunte, dans un premier temps, la notion d’espace à la géographie culturelle. Cette conception de l’espace qui comprend une dialectique idéaliste-matérialiste permet d’adopter une perspective analytique de développement inégal. Celle-ci permet de comprendre non seulement pourquoi certains endroits, lieux, régions et pays sont connus pour être des espaces dits liminaires, mais également en quoi les pratiques d’une économie capitaliste poussent ceux-ci à miser sur une image de liminalité pour (sur)vivre dans l’économie de marché. Inspirée dans un deuxième temps par l’anthropologie sociale, la thèse considère l’expérience touristique comme un rite de passage et propose que les touristes soient soumis.es à un dispositif symbolique qui les mène à performer in situ une identité de touriste. Cette performance, concrétisée par la consommation de transgressions, a pour conséquence de (re)produire l’espace liminaire. La thèse montre également que ce dispositif symbolique est un mécanisme de régulation non seulement des conduites, mais aussi des corps. Enfin, la thèse indique que le terrain de recherche est également une liminalité pour les chercheur.ses qui les affecte ainsi que le savoir produit. / Within the field of criminology, the ecological perspective argues for an implicit notion of spatiality, one which reduces the physical environment to nothing more than a basic geographical site, thereby excluding the power relationships, as well as the social and cultural dynamics, or values- and meaning-based dynamics, conveyed therein. As such, this study investigates the importance of geographical space in criminology. By employing the concept of liminality, defined as a symbolic space-time, this thesis also specifically studies the role space plays in the (re)production of both illegalisms and playful deviance, their respective regulation, as well as in the production of knowledge. In order to shed light on the liminality concept, this thesis draws on a five-and-a-half-month-long ethnography, carried out in two Costa Rican beach towns. It also illustrates how the tourism industry’s neoliberal practices produce a liminal space that caters to quests for the exoticism, and especially the hedonism and authenticity, sought by tourists seeking to escape the confines of their everyday lives. While a segment of the scientific literature views liminality as a space where everyday norms are suspended, this thesis instead suggests that tourists adhere to norms already present in such spaces, ones specifically based on an aggressive form of hedonism, which in turn result in “out of the ordinary” alcohol and drug consumption, as well as sexuality, on the part of tourists. In adopting an interdisciplinary approach, this study initially employs cultural geography’s notion of space. This conception of space, which employs an idealist-materialist dialectic, also allows for the adoption of an analytical perspective based on the concept of uneven development. It also makes it possible to understand not only why certain places, regions, and countries are recognized as being so-called liminal spaces, but also how the practices of a capitalist economy push them to rely on an image of liminality in order to survive and operate within the market economy. In additionally taking inspiration from social anthropology, this thesis views the touristic experience as a rite of passage, while also proposing that tourists are subjected to a symbolic device, which leads them to perform a site-specific tourist identity. This performance, given concrete form by the consumption of transgressions, results in the (re)production of the liminal space. The thesis also shows that this symbolic device is a regulating mechanism in regard to conducts, but additionally to bodies. Lastly, the thesis illustrates the ways in which the research field is also a liminality for researchers, one which affects them, as well as the knowledge produced therein.

No description available.

For whom do we draw buildings? Why does contemporary architecture look the way it does?Why are certain aesthetics considered more valid than others? With this project, I propose Dirty Geometry: norm-bending design that could challenge conventions within the field of architecture. It is an investigation of concepts such as ugliness, beauty, architecture and the human body, interiority, femininity and ”bad taste”. The purpose is to, with the aid of parametric design processes, make Stockholm less boring and more dirty. Dirty Geometry is both the creative process sprung from one’s personal desires, and the resulting design. It aims to celebrate the weird, playful and colorful in an empowering way. This thesis project draws a lot of inspiration from camp aesthetics and drag culture, because of the way humour is used in a subversive way to question gender identities, power structures and norms.