The The’wá:lí Community Digital Mapping Project is a collaborative, scholarly project for which the final product is a digital, layered map of the reserve and traditional lands of the Stó:lō (Xwélmexw) community of The’wá:lí (Soowahlie First Nation). The map, containing over 110 sites and stretching from Bellingham Bay, Washington in the west to Chilliwack Lake, B.C. in the east, is hyperlinked with audio, visual and textual media that tell stories about places of importance to this community. The map is intended to give voice to many different senses of and claims to place, and their intersections, in the The’wá:lí environment, while also exploring the histories of how these places and their meanings have changed over time. It expresses many, often conflicting, ways of understanding the land and waterways in this environment, and presents an alternative to the popular, colonial narrative of the settlement of the Fraser Valley. Thus, the map, intended ultimately for The’wá:lí’s use, is also meant to engage a local, non-Indigenous audience, challenging them to rethink their perceptions about where they live and about the peoples with whom they share their histories and land. The essay that follows is a discussion of the relationship-building, research, writing and map-building processes that have produced the The’wá:lí Community Digital Map. / Graduate / 2017-08-21 / 0740 / 0509 / 0366 / sabinatrimble@gmail.com

<p>Poetičko dejstvo mesta predstavlja oblik delovanja prostora koji u čoveku proizvodi doživljaj. Ovaj fenomen je predstavljen iz potrebe da objasni suštinu i prirodu arhitektonskog prostora kao i način na koji prostor vrši dejstvo. Osnovna problemska i istraživačka tema ovog rada jeste uzročno-posledična veza između fizičkog prostora i mesta, koja se zasniva na dijaloškom procesu usled kog je moguće postići da čovek doživi određeno &bdquo;poetičko stanje&ldquo;.</p> / <p>Poetic place influence is a manner in which space causes a man to have an experience. This phenomenon is introduced in order to explain the essence and nature of architectural space, as well as the manner in which the space produces this effect. The main problem and research subject of the work is cause and effect between physiscal space and place, grounded on dilagoue process which enables a man to experience certain &rsquo;poetic state&rsquo;.</p>

Within Swedish universities students are often required to work in groups to collaborate on projects or to write essays. A salient feature characterizing this type of work is the lack of a stable and fixed location wherein project- related activities can be carried out and accomplished. Thus, by regarding students as instances of nomadic workers, this thesis investigates the nomadic practices in the context of their group work, with particular attention to issues related to collaborative and coordinative aspects. Although the lack of a stable office has, somehow, always characterized students’ activities, the spread of mobile technologies raises relevant analytical issues concerning the relationships between individuals’ practices, the use of particular technologies and the physical environments in which interactions may occur. In this regard, this thesis provides an example of how a philosophical conceptualization of place as the product of human experience can assist in exploring: (a) the relationships between students’ activities, the locales they work at, and the situated use of specific technological artifacts; (b) how students occupy and experience places, by investing them with activities, meanings and values; (c) how different physical environments constrain and shape the way activities are performed. The data were collected by means of ethnographically-informed methods during two different field studies for which two design courses, held at a technical university, had been chosen as settings. Within both of them, the participants were to develop a prototype of novel IT technologies, and to account for the evolution of their projects by means of a report. The two studies aimed at understanding: (a) how students organize their activities at a number of locations, and how it reflects on the activities they engage with; (b) the strategies they adopt and the technologies they use to overcome problems deriving from the lack of a stable workplace, (c) the different ways a workplace is practically created, how it emerges from students’ interactions with the environment they inhabit, and how it is mediated by the technology they use (place-making). Observations, field-notes, video-recordings, semi-structured interviews were used during the phase of data collection. Some participants were also asked to fill in a diary and to take pictures of the different sites used for their project activities. In addition, a workshop, organized as a focus group, was arranged in order to unpack issues concerning students’ usage of various technologies, with respect to number of people involved, ongoing activities and the related chosen locations. The data analysis suggests that taking into account the way a place is disassembled and the way nomadic workers manage to move out of it is central to an understanding of their work practices. Moreover, it shows that the participants experienced planning the division of work as essential in order to manage coordination and collaboration within the groups, to organize collaborative and individual activities, and to allocate them to differing physical places. Furthermore, this thesis outlines in what way a focus on place may assist designers in reflecting on the design of educational environments, and of technological artifacts enabling students to share and integrate heterogeneous sources of information. / QC 20100806

A principal aim of this research has been to establish the capacity of British Gangland film to articulate its era of production through the cinematic interpretation of contemporary concerns and anxieties in narratives relating to the criminal underworld. In order to do so, the study has concentrated on the analysis of space, gender and hierarchy within representative generic texts produced between 1945 and the present. The thesis is divided into three sections: the first offers a general overview of British Gangland film from the 65 years under discussion with the aim of identifying recurring generic patterns and motifs. The second and third sections are more specifically focused, their chapters examining the narrative significance and development of the male and the female protagonist respectively. Within the films under discussion, the relationship between these protagonists and their environment represents a fundamental generic component, resulting in an emphasis on space and place. Space within these narratives is inherently territorial, and thus irrevocably bound up with hierarchies of power. The predominantly urban locations in which the narratives are set represent a twilight world, a demi-monde, which is rarely neutral but dominated by the patriarchal order structuring the notion of ‘Gangland’. Such spaces are therefore inextricably linked with gender, hierarchy, and dynamic power relations. Whilst it would have been possible to explore each of these areas in isolation through specifically relevant theoretical perspectives, their interdependence is central to this study. Consequently, a holistic theoretical approach has facilitated analysis of the symbiotic relationship between the three key elements of space, gender and hierarchy and the processes involved in the generation of meaning: this has resulted in a reading of British Gangland film as cultural artefact, reflecting its circumstances of production.

abstract: This dissertation examines the conception, planning, creation, and management of Fort Union National Monument (FOUN) in northeastern New Mexico. Over approximately the last eighty-five years, writers, bureaucrats, boosters, and the National Park Service (NPS) have all been engaged in several different kinds of place-making at FOUN: the development of a written historical narrative about what kind of place Fort Union was (and is); the construction of a physical site; and the accompanying interpretive guidance for experiencing it. All of these place-making efforts make claims about why Fort Union is a place worthy of commemoration, its historical significance, and its relationship to local, regional, national and international contexts. The creation and evolution of Fort Union National Monument as a memorial landscape and a place for communion with an imagined past—in short, a site of memory and public history—is only the latest chapter in a long history of migration, conflict, shifting ownership, and land use at that site. I examine the evolution of a sense of place at Fort Union in two broad time periods: the twenty-five years leading up to the monument’s establishment, and the seven decades of NPS management after it was created. Taken as a case study, the story of FOUN raises a number of questions about the basic mission and meaning of NPS as a cultural institution and educational organization; how the agency conceptualizes and “talks about” Native Americans and the Indian Wars; the history and practice of public history; and how best to address sites like Fort Union that seek to historicize America’s imperial past. / Dissertation/Thesis / Doctoral Dissertation History 2016

This case study examines the factors that shaped the identity and landscape of a small island-urban-village between the north and south forks of the Middle River and north of an urban area in Broward County, Florida. The purpose of the study is to understand how Wilton Manors was transformed from a “whites only” enclave to the contemporary upscale, diverse, and third gayest city in the U.S. by positing that a dichotomy for urban places exists between their exchange value as seen by Logan and Molotch and the use value produced through everyday activity according to Lefebvre. Qualitative methods were used to gather evidence for reaching conclusions about the relationship among the worldview of residents, the tension between exchange value and use value in the restructuration of the city, and the transformation of Wilton Manors at the end of the 1990s. Semi-structured, in-depth interviews were conducted with 21 contemporary participants. In addition, thirteen taped CDs of selected members of founding families, previously taped in the 1970s, were analyzed using a grounded theory approach. My findings indicate that Wilton Manors’ residents share a common worldview which incorporates social inclusion as a use value, and individual agency in the community. This shared worldview can be traced to selected city pioneers whose civic mindedness helped shape city identity and laid the foundation for future restructuration. Currently, residents’ quality of life reflected in the city’s use value is more significant than exchange value as a primary force in the decisions that are made about the city’s development. With innovative ideas, buildings emulating the new urban mixed-use design, and a reputation as the third gayest city in the United States, Wilton Manors reflects a worldview where residents protect use value as primary over market value in the decisions they make that shape their city but not without contestation.

<p>The purpose of this critical ethnographic dissertation research was to explore the multiple and diverse ways in which university student activists in Honduras constructed oppositional political cultures within the institutional constraints and possibilities of the university and the broader neoliberal and authoritarian postcoup context. In this research, I considered studying up and down and anything in between a necessary task to understand the complexity of student activism in relation to the university’s complicity with the coloniality of power and knowledge (Nader, 1972; Quijano, 2000, 2007). Critical ethnography, decolonial, space and place, and collective action theory provided the philosophical, methodological, conceptual, practical, political, and ethical commitments to understand how the University Student Movement’s political culture resisted neoliberal higher education reform. This research, in addition, offers an ethnographic analysis and interpretation of the student movement’s political culture and the role it played in democratizing the university. First, I used a historical perspective to contextualize reemerging student movements in Honduras. After tracing Latin American student movement’s origin to the Cordoba Student Movement of Argentina, I examined the ways in which the student movement of Honduras adopted, reclaimed, and extended the democratic principles implemented in the former. University autonomy, ideological pluralism, democratic governance, academic freedom, and curriculum reform were salient points of analyses. Second, I examined the student movement’s horizontal organization, identified the democratic social practices and political culture that emerged after the coup of 2009, and interpreted student activists’ knowledges born in struggle through a decolonial lens concomitant with a sensitivity to space and place and collective action. Particularly, the direct participation of students in all decision-making processes within the student movement was interpreted as an act of resistance to reclaim democratic spaces within a sociopolitical context increasingly becoming dictatorial. Third, I analyzed the student movement’s impact in democratizing the university’s governance structure and resisting neoliberal higher education reform. Fourth, I shared the knowledge produced collectively by student activists. The way students conceived of the university and its curriculum and governing practices unsettled the authorial individualism still present in educational research. The knowledges born in struggle, I argued, have sociopolitical, cultural, and decolonial implications. In addition to the analytical and interpretive work which included the research, knowledges, and practices student activists shared with me during the 12 months of fieldwork and participant observation in Honduras, I highlighted how the emergence of a heterogeneously articulated student movement slowed down, at the very least, the neocolonial and neoliberal reconfiguration of the university. This dissertation thus addressed the political relationship between the global and the local. The re-localization of politics here must not to be confused with reactionary politics. It means instead to recognize how the particular is enmeshed in a more complex web of power, domination, resistance, and reexistence. To resist locally means that collective actors engage global powers, even if indirectly and unintentionally. Student activists, who were able to put a stop to the series of neoliberal reforms implemented since the coup of 2009, reminded those in power (local, national, and global) that neoliberal higher education reform within a re-politicized autonomous university with an organized student movement will be faced with resistance. This ethnographic account will hopefully reveal the ways in which student activist built a politically culture characterized by alternative forms of organizing to resist what is too often conceived fatalistically as the inevitable neoliberalization of education. These fatalistic perspectives will hopefully be unsettled throughout the dissertation. The significance of this study is that it is oriented toward an ethnographic understanding of higher education reform and student resistance in Latin America, a region with a student population which continues to be engaged in collective action. The educational significance of this work revolves around the need to rethink and rebuild universities in radically democratic terms. This rethinking involves the need to not only democratize access to higher education but rather to democratize governance, curriculum, knowledge, research, and ways of knowing and being. Transforming the university into a democratic place in which students are directly and meaningfully involved in governance and curriculum reform opens a path toward decolonial futurities where knowledge is no longer dictated from above but rather deconstructed and reconstructed from below. This dissertation research, lastly, as it works at the intersections of curriculum studies, decolonial theories, methodologies, pedagogies, and emerging university student resistance in Latin America, offers, I hope, a valuable way to do curriculum inquiry in higher education institutions within international contexts. </p>

[pt] Este trabalho é um estudo sobre o espaço arquitetônico intervencionado por instalações artísticas e seus efeitos na relação espectador-habitante e espaço. Baseada na noção fenomenológica de percepção, que se constrói a partir da experiência sensorial com o meio, a pesquisa se desenvolve baseando-se na ideia de que o espaço intervencionado propõe ao público espectador um deslocamento na percepção de uma arquitetura preexistente, gerando, assim, novas possibilidades de interação entre corpo – do espectador – e espaço arquitetônico. A relação estabelecida entre público e espaço-obra de arte provoca a eventualidade de que impressões – processos internos de sentimentos reativos a estímulos espaciais – e expressões – reações físicas externalizadas – sejam estruturadas de forma subjetiva em cada corpo. Analisando as instalações artísticas do coletivo Penique Productions, a pesquisa objetiva refletir sobre a experiência sensorial espacial, delimitada num tempo-espaço, a partir de uma arquitetura modificada por uma interferência artística efêmera, analisando duas de suas obras. O método qualitativo de análise é desenvolvido mobilizando autores como Juhani Pallasmaa, Merleau-Ponty, Norberg-Schulz, António Damásio e Hal Foster, discutindo os conceitos de espaço, lugar, memória e imaginação, matéria, tatilidade e tempo. Será realizado o levantamento de informações sobre as obras de Penique Productions, investigando os elementos compositores do espaço com suas intervenções, as reações dos espectadores a tais estímulos, intencionalidade dos artistas, além de entrevista com o Sergi Arbusà, fundador do coletivo. / [en] The present work is a study space about artistic installations and its study space, intervening on the visualizerbit and its effects on the study relationship on the visualizer. Based on the phenomenological notion of perception, which is built from the sensorial experience with the environment, the research is developed based on the proposal that the intervention space to the public is a shift in the perception of a preexisting architecture, thus generating new possibilities. of interaction between body – of the viewer – space and animated interaction. The relationship established between the public and the artwork of space eventuality – causes internal processes of feelings reactive to spatial stimuli – and expressions – externalized physical reactions – to be structured in a subjective way in each. Analyzing as artistic installations by the collective Penique Productions, a research aims to reflect on a sensorial experience, delimited in a space-time space, from an architecture modified by an ephemeral artistic interference, analyzing two of his works. The qualitative method of place is developed by mobilizing authors such as Juhani Pallasmaa, Merleau-Ponty, Norberg-Schulz, António Damásio and Hal Foster, discussing the concepts of space, memory and imagination, matter, tactility and time. A survey of information about the works of Penique Productions was carried out, investigating the compositional elements of the space with their interventions, such as spectators reactions to such stimuli, intentional dos, in addition to an interview with Sergi Arbusà, founder of the collective.

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In this fast-paced, globalized world, certain online sites represent a hybrid personal-public sphere'where like-minded people commune regardless of physical distance, time difference, or lack of synchronicity. Sites that feature chat rooms and forums can offer a deep-rooted sense of community and facilitate the forging of relationships and cultivation of ideologies. This dissertation investigates whether this trend is relevant to web sites concerning hip-hop. This genre is arguably one of the most pervasive and influential global cultural forms, yet it is markedly different from most other forms of globalized culture because it emerged within and is still embedded in a distinct subculture. The notion that the Internet could become a bastion for hip-hop fans is quite paradoxical: hip hop is a cultural form so deeply rooted in the sense of place and so invested in its relationship to spatiality that it could potentially pose a particular challenge to the notion of virtual communities. This research examines the virtual hip-hop experience in the UK in order to assess whether this music and the culture that surrounds it have been adopted in their original American form or whether they have been adapted to make them more relevant to their new locale. In particular, the study probes how the ideology, values, behaviors and attitudes that bestride American hip-hop are represented, consumed, and reproduced on the mediated world of web sites.