Cette étude de cas, adoptant une méthodologie qualitative, se veut de comprendre comment les enseignant.e.s ont mis en pratique la collaboration lors d’une formation professionnelle basée sur le mouvement Bricoleur et comment ils ont remis en œuvre celle-ci dans leur pratique pédagogique. La première phase de la collecte de données s’est déroulée en juillet 2018, lors de l’Institut canadien pour l’apprentissage des littératies numériques à l’Université d’Ottawa, consistant en un questionnaire en ligne, tandis que la seconde phase de la recherche, effectuée en automne 2018, comprenait des entretiens semi-dirigés avec les participant.e.s. Les enseignant.e.s ont bénéficié de la formation afin de collaborer par la conceptualisation d’un projet personnel, soit la fabrication d’un artefact physique ou numérique, en vivant l’expérience du Bricolage, en tant qu’apprenant.e. Par la suite, les enseignant.e.s ont réinvesti la collaboration découlant de cette formation en mettant en œuvre une communauté Bricoleur dans leur pratique.

Bricoleur, digitala varelser och brus utgör tre viktiga noder, runt vilka mitt konstnärliga arbete rör sig. Parallellt med ett antal av mina verk beskrivs dessa begrepp kortfattat. / Bricoleur, digital beings and noise are three important nodes, making up cornerstones of my artistic work. These ideas are explained briefly parallel to a selection of my artworks.

Submitted by Daniele Farias Freire Raic (danielefreire.uesb@gmail.com) on 2016-01-05T14:39:56Z No. of bitstreams: 1 Nas tramas da pedagogicidade, a emergência do pedagogo-bricoleur (2).pdf: 2234852 bytes, checksum: c767a913c62a79f308793d54d7f3ff6c (MD5) / Approved for entry into archive by Maria Auxiliadora da Silva Lopes (silopes@ufba.br) on 2016-01-07T14:36:16Z (GMT) No. of bitstreams: 1 Nas tramas da pedagogicidade, a emergência do pedagogo-bricoleur (2).pdf: 2234852 bytes, checksum: c767a913c62a79f308793d54d7f3ff6c (MD5) / Made available in DSpace on 2016-01-07T14:36:16Z (GMT). No. of bitstreams: 1 Nas tramas da pedagogicidade, a emergência do pedagogo-bricoleur (2).pdf: 2234852 bytes, checksum: c767a913c62a79f308793d54d7f3ff6c (MD5) / Este trabalho discute os movimentos de composição do Ser pedagogo nos fluxos de sua pedagogicidade. Entende que os pedagogos são afetados e agenciados nas composições de si cujas experiências são entendidas como intensidades, pedagocidades, no devir-pedagogo. Entende o devir em seu puro devir, em contínuos movimentos de eterno retorno, nos processos de diferenciação e diferençação e, neste sentido, posiciona-se em oposição à identidade do pedagogo. Embora entenda que a formação do Ser pedagogo não está restrita à formação acadêmica em Pedagogia, reconhece que sem ela também não seria possível a formação do profissional pedagogo. Argumenta que a formação do pedagogo está imbricada ao currículo, sobre o qual se discute as perspectivas do currículo-decalque, prescritivo, e do currículo- mapa,rizomático, bem como sua correlação. Apoia-se na bricolagem metodológica e traz como dispositivos de investigação o Ateliê das Memórias, as Entrevistas, os Mapas de Vida, as Cartografias-narrativas e as Narrativas Escritas. Os dispositivos foram interpretados a partir de uma abordagem da filosofia da diferença, sem, contudo, presumi-la em sua exegese. O texto está escrito à maneira de uma Colcha de Retalhos, contando com a participação de seis (06) pedagogos, identificados, à livre escolha, por nomes de tecidos. As interpretações produzidas sugerem a emergência do pedagogo-bricoleur, aquele que cria e inventa suas práticas cotidianas em suas maneiras de fazer, como contínuo aprendiz de si e da profissão. / ABSTRACT This paper discusses the composition movements of the Pedagogue in flows their pedagogicities. It understands that teachers are affected and promoted in the compositions of themselves and whose experiences are seen as intensities, pedagocities, in the becomingpedagogue process. It understands becoming in its pure becoming, in continuous movements of eternal return, through the processes of differentiation and differentiaction, and in this sense, stands in opposition to the pedagogue’s identity. Although it understands that the formation of the Pedagogue is not restricted to academic training in pedagogy, it recognizes that without it forming the professional pedagogue would not be possible neither. It contends that the formation of the pedagogue is embedded into the curriculum, about which the prospects of the prescriptive, decal-curriculum and rhizome-like, map-curriculum are discussed, as well as their correlation. It relies on methodological bricolage and brings as data producing devices the Memories Workshop, the Interviews, the Life Maps, the Cartography-narratives and the Written Narratives. The devices were interpreted from an approach of the philosophy of difference, without, however, assuming it in his exegesis. The text is written in the manner of a Patchwork Quilt, with the participation of six (06) pedagogues, identified in a free choice by tissue names. The produced interpretations suggest the emergence of the pedagogue-bricoleur, who creates and invents their everyday practices in their ways of doing as a continuous learner of themselves and the profession.

The purpose of the essay is to see (1) how being a bricoleur works within the framework of academic discourse, specifically an archaeological one, (2) if, by usinga bricoleur approach, incorporating object-oriented philosophy, phenomenology, aesthetic theory and photography, one can get at different interpretations of an archaeological place and material; specifically the cairn at Skårby and how it ”should” be approached, and (3), if the incorporation of a photography that’s not aimed at textual illustration or representation, along with a looser language, can make an academic text like this one more approachable.

Uppsatsen är skriven ur ett postmodernt och identitetsskapande perspektiv och handlar om hur designhistoria skapas i en nyutkommen vintagebok. Studien undersöker hur vintagebilder kan verka som en ny konstruktion av designhistoria. Detta undersöks genom semiotiska analyser av fem stycken bilder, hämtade ur boken Vintageparty (2013) och diskuteras sedan i relation till de sedvanliga designhistorieböckernas beskrivning. Resultatet tolkas utifrån identitetsskapande, postmodern och semiotisk teori. Undersökningen visar att vintagebokens skapare, vilka jag valt att kallar för bricholeurer1 själva kombinerat de föremål som finns med i bilderna. Istället för en traditionell designhistorisk beskrivning flyttas identitetsskapandet, genom design, ut i det offentliga rummet. Studien visar också att bilderna kan kopplas till postmodern stil, detta då bilderna visar upp eklektiska sammansättningar av föremål. Att ta till vara på olika föremål, genom att återvinna dem, visar på en miljövänlig designhistorik. Genom den identitetsskapande teorin, går det att konstatera att vintagebilderna till stor del konstruerar en individualitet, eftersom föremål valts ut och sammansatts så som skaparna av boken själva önskat. Kanske kan man påstå att bilderna skapar designhistoria på ett nytt sätt, i en ny skepnad?

In this practice-led exploration, I investigate the aesthetic potential of household waste. With household waste as the object of investigation, I explore the cultural signification of waste in terms of the role it plays in art practice. I look into the found object, bricoleur culture and the sculptural process of assemblage. By considering how assemblage allows for the inclusion of waste materials, the lowly status of household waste leads my art practice to a do-it-yourself approach. This approach of incorporating waste materials into artworks shifts the focus from the physical state to the conceptual meaning of waste. The shift that occurs when the waste object is displaced into art is central to this research study, owing to the capacity of these objects to connote meaning. I refer to this capacity as the social agency of waste materials. My investigation pertains to how art practice may alter or enhance the meaning of household waste. The physical cycle of waste, the constant change in use value that is promoted by consumer society and the process of conceptual adaptation instil a nomadic quality in household waste. I view the nomadic quality of waste as a means to activate viewer participation. I investigate, in particular case studies, how the interrelationship of installation art, site-specificity and community-based art may contribute to an experiential mode of viewing. I apply the lens of phenomenology and contemporary environmental aesthetics to interpret how viewers engage with art installations. My investigation of confrontational art installations has informed the approach of my own creative research. To convey the nomadic quality of waste, I have developed a series of quasi-functional sculptural artworks that act as mechanical modes of movement to signify an industrial influence of consumerism. Through community art practice as an interrelated field of research, the community members of Rietondale, particularly the school learners from workshops I presented, influenced my approach to my own art practice as I had sought to influence theirs. This mini-dissertation serves as a reflection on the coinciding thought process, material journey and collaborative initiative of a practice-led exploration of the aesthetics of household waste. / Dissertation (MA)--University of Pretoria, 2016. / Visual Arts / MA / Unrestricted

This study examines the ways in which museums and memorials within South African society commemorate events of the past. Various examples of museums and memorials are chosen and identified according to the ways in which they embody postmodern or modern thought. Postmodern and modern museums are deconstructed according to various post-structural tenets so as to arrive at a broader understanding on how they are able to remain a continuously relevant and vital part of contemporary society. / Art History, Visual Arts and Musicology / M.A. (Art History)

This study examines the ways in which museums and memorials within South African society commemorate events of the past. Various examples of museums and memorials are chosen and identified according to the ways in which they embody postmodern or modern thought. Postmodern and modern museums are deconstructed according to various post-structural tenets so as to arrive at a broader understanding on how they are able to remain a continuously relevant and vital part of contemporary society. / Art History, Visual Arts and Musicology / M.A. (Art History)

L’oeuvre anthropologique de Claude Lévi-Strauss a joui, dès les années cinquante, d’un succèsretentissant dans le champ des sciences humaines et sociales. Dans celui spécifiquement de l’art, ce futd’abord le cas, avant que l’ethnologue ne récuse rapidement toute alliance possible avec la créationmoderne. Face à ce désaveu brutal, par contrecoup, la pensée esthétique de l’anthropologue est depuisrégulièrement reléguée au rang des conservatismes. Il y a dans les arts plastiques, comme un malaiseLévi-Strauss. Partant de ce constat, le présent travail entend faire corps selon deux aspects étroitementmêlés.Le premier consiste à « servir » Lévi-Strauss. En effet, l’examen démontre qu’il est, par bien desaspects, difficile de réduire l’auteur des Mythologiques à la figure de l’amateur gêné par l’aspect radicaldes avant-gardes. Dans une approche apaisée, le débat avec l’art moderne est alors rouvert afin decomprendre les ressorts profonds du positionnement esthétique de l’anthropologue. Elargissant la focale,l’étude tente de saisir l’art selon une approche civilisationnelle. L’Occident, en tant qu’entité culturelle,est analysé au regard du primat accordé dès l’antiquité au logos et jusqu’à son expression moderne autravers de la pensée scientifique.L’autre aspect de ce travail consiste cette fois à « se servir » de la pensée lévi-straussienne dans lebut d’élaborer les bases d’une postmodernité débarrassée de l’écueil du « tout se vaut ». Des outils aupremier rang desquels le triangle culinaire ainsi que la méthode structurale, sont également convoquésafin d’instruire les possibilités d’un rééquilibrage entre pensée scientifique et pensée mythique. Sefaisant, le travail tente de montrer le caractère profondément poïétique de la pensée lévi-straussienneainsi que de répondre à la question posée par la poïétique de René Passeron : « Si l’art est exemplaire, illui faut dire en quoi. »De la rencontre entre les deux grands aspects précités, naît la thèse majeure de ce présenttravail. Celle-ci consiste à démontrer combien le malaise Lévi-Strauss n’est en fait que l’autre nom dumalaise postmoderne, sa forme paradigmatique. / Since the 50’s, Levi-Strauss anthropological work has enjoyed a huge success in the socialsciences as well as in the Arts. These were parallel until the ethnologist quickly refused every possiblealliances with modern arts. As a direct consequence of this brutal disavowal, the anthropologist'saesthetic thought is regularly pushed into conservatism, thus, the inception of a Lévi-strauss vexationwithin the plastic arts. It is upon this that this discussion will be based.On one hand, this work will use Lévi-Strauss's thought. Indeed, the author of theMythologiques can't be reduced to the image of an amateur uncomfortable with the radical side of theavant-garde's thought. We'll reopen the discussion about modern art in order to understand the roots ofthe aesthetic positioning of the anthropologist. The cultural point of view in the arts will be the centerof this work. The cultural entity of the western civilization is analyzed from the primal importance itgranted since the antiquity to the logos until its modern expression : the rational thought.On the other hand, this work is permitted by the levi-straussian way of thinking and elaboratesthe basis of a postmodernity freed from the « all is equal » problem. Many tools such as the culinarytriangle and the structural method will be employed in discussing this. They help in keeping the delicatebalance between the rational and the natural thought, Thus, this is an attempt to answer a questionraised in the poietics of René Passeron : « If art is an exemple, we must say in which way it is. »These two sides create the main part of this work which demonstrates how the Lévi-Straussvexation is actually the other name for the postmodern vexation. We could even say that it is itsparadigmatic form.

There is a perception that drug use is a serious and growing problem to be solved by medicine, social work and drug enforcement agencies. This thesis takes a critical standpoint again such populist views and interprets drug use as one of any number of normal activities that people engage. This qualitative research utilising a bricoleur ethnographic methodology focuses on the drug taking of non-treatment seeking illegal drug users. The data reveals that they manage several social identities and the potential stigma of being discovered as an illicit user of illegal drugs utilising several strategies to remain intentionally unseen. The thesis explores how and in what way socially competent drug users differ from visible treatment seeking drug users. In order to develop this understanding, several gatekeepers were identified and within their social networks the participants were recruited into this research. The participants (n=24) were recruited from a wide range of age groups (21-52) and geographical locations within Scotland. One to one interviews, a focus group, and several pair bonded partners were interviewed together providing rich sources of data. Interviews were transcribed and analysed thematically from a social constructionist perspective. The findings illuminate the ways in which the intentionally unseen identify and manage risks from drugs, drugs policy and the potential shame and stigma were their hidden social worlds revealed. The practical implications of the results of this thesis are explored and recommendations for future research are discussed.