The current global economic system is driving an unsustainable society. The planet has limited resources, and the economic system exists within these limits. To move society towards sustainability, one must consider how to provide necessary services to a growing population while decreasing dependencies on resource consumption. This research aims to show that Collaborative Services offer one solution to communities by providing a platform for sharing and exchange of resources through innovation and participation. Collaborative Services are designed and utilized on a local scale, to meet specific community needs and have been found to provide Social, Natural, Human, Political, Cultural, Built and Financial Community Capital returns on investment. Successful Collaborative Services have certain ‘ingredients’ that guide them which include: leadership and vision, strategies to involve key stakeholders, organizational resilience considerations as well as financial, technical and physical supports for Collaborative Services. This research shows the benefits and ingredients of successful Collaborative Services, in order to promote their emergence and provide support for communities working with Collaborative Services. Using a strategic sustainable development lens this research suggests that Collaborative Services can act as a tool to pull communities towards sustainability.

I omställningsprocessen mot ett mer hållbart samhälle kan en designer ha en viktig roll för social innovation och samverkan. En designer kan underlätta för föreningar att själva lösa sina problem genom nerifrån-och-upp metoder. Detta betyder att den traditionella designerrollen är i förändring och att nya färdigheter efterfrågas. Det här projektet har utforskat ett praktiskt och föreningsdrivet designangreppssätt. Målet med designprocessen var att designa en tjänst för stadsodlingsprojekt baserade i Stockholm. Tjänsten utvecklades tillsammans med aktiva medlemmar i projekten för att göra odlingen mer effektiv, tillgänglig och enkel att sprida. / More and more, designers take the role of facilitators in social innovation processes by using collaborative approaches aiming at a transition towards sustainability. To do so, they collaborate with active communities that create solutions for their own problems through bottom-up approaches. Consequently, the role of professional designers is shifting and new design skills and approaches are required. This project explored a community driven design approach, on a practical level. The goal of the design process was to design a service for urban farming communities situated in Stockholm. This service was co created with members of the communities to make them more efficient, better accessible and easier to replicate.

Submitted by Fabricia Fialho Reginato (fabriciar) on 2015-06-27T00:29:33Z No. of bitstreams: 1 CarlaFederizzi.pdf: 12796922 bytes, checksum: 326d62f912ac8ac884a690aadd55ed4d (MD5) / Made available in DSpace on 2015-06-27T00:29:33Z (GMT). No. of bitstreams: 1 CarlaFederizzi.pdf: 12796922 bytes, checksum: 326d62f912ac8ac884a690aadd55ed4d (MD5) Previous issue date: 2014 / Nenhuma / As cidades estão em constante transformação e crescimento, onde o ritmo de mudanças sociais, tecnológicas e econômicas tem se acelerado pela globalização. Nesse contexto, mostra-se a necessidade de pensar novas soluções sob a ótica da inovação social considerando a possibilidade de gerar soluções mais sustentáveis, coletivas e sociais. Diferentes autores reforçam o potencial do design estratégico para criar e gerir essa nova mentalidade, a partir do uso de metodologias interdisciplinares e centrada nas pessoas. Neste contexto, surgem as Comunidades Criativas, que são grupos de pessoas que se reúnem – virtualmente ou fisicamente - para construir novas soluções para o seu próprio cotidiano. As comunidades têm como premissa a construção de soluções para o espaço urbano através de um diálogo mais próximo entre a sociedade, as instituições, a iniciativa privada e o poder público. A partir de uma análise exploratória, espera-se compreender como ação do Design Estratégico, como uma metodologia de inovação social pode contribuir para a motivação de soluções colaborativas na cidade de São Paulo. A pesquisa abrange um estudo de caso sobre o Coletivo Ocupe & Abrace, comunidade criativa que propõe um novo modelo não institucionalizado e compartilhado de melhorias no bairro Vila Pompeia, na capital paulista. Como resultado, foram identificadas diretrizes projetuais que podem guiar a atuação do designer no âmbito da cidade. / Cities are facing social, technological and economic changes, accelerated by globalization. In this scenario, social innovations gains importance as it grows the need for more social and sustainable solutions. Different authors believe that social innovation can be generated with a strategic design approach because of its collaborative and human centered methodologies. In this context Creative Communities emerge: virtual or physical groups of people that are creating sustainable solutions for their own everyday life. Their premise is a closer dialogue between society, institutions, private enterprises and the State. An exploratory approach was used to understand how Strategic Design, as a social innovation methodology, can be used to motivate collaborative solutions in the city of São Paulo. The research includes the case study of Ocupe & Abrace, a creative community that promotes a non-institutionalized and shared model for improvements in the Vila Pompeia neigborhood. The studies’ purpose was to identify elements that could be explored in design-oriented projects in the urban context.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-06-13T16:22:55Z No. of bitstreams: 1 Caio Marcelo Miolo de Oliveira_.pdf: 15021363 bytes, checksum: bfd8631b74a6ee6e0787cda5bde4072b (MD5) / Made available in DSpace on 2016-06-13T16:22:55Z (GMT). No. of bitstreams: 1 Caio Marcelo Miolo de Oliveira_.pdf: 15021363 bytes, checksum: bfd8631b74a6ee6e0787cda5bde4072b (MD5) Previous issue date: 2016-04-04 / Nenhuma / Diante da crise decorrente da dificuldade dos países em atender interesses sociais e econômicos, surgem novas formas de organização social, como as chamadas comunidades criativas, que buscam solucionar problemas que as afetam ou gerar novas oportunidades. Apesar da expansão de casos como estes, algumas comunidades não conseguem organizar-se e tornarem-se comunidades criativas. A fim de incentivar a colaboração entre membros de comunidades e explorar o potencial que possa surtir destes relacionamentos, trazendo benefícios ao bem-estar social comum, o design estratégico é indicado como um possível agente. Próprio para atuar em ambientes organizacionais, o design estratégico sugere articulações entre atores, técnicas, tecnologias, conhecimentos e disciplinas para satisfazer diferentes necessidades e obter resultados de valor e com efeitos de sentido. Atuando no âmbito da inovação social, utiliza suas habilidades para projetar novos artefatos que estimulem mudanças comportamentais, habilitando os próprios membros das comunidades a solucionarem os problemas existentes ou gerarem novas oportunidades. Para realizar esta mediação com as comunidades, estão as soluções habilitantes, que são sistemas de produtos, serviços, formas de comunicação, entre outras ações para incentivar o desenvolvimento de capacidades e habilidades de membros das comunidades, de modo a cooperarem para alcançar um determinado resultado. A fim de auxiliar no desenvolvimento de tal processo projetual, apoia-se na abordagem de Community Centered Design (CCD), que possui métodos próprios para trabalhar em comunidades e propor soluções projetuais em colaboração com seus membros. Nesse contexto, a presente pesquisa, realizada através de uma pesquisa ação, busca compreender como o design estratégico pode desenvolver uma solução habilitante junto a uma comunidade para estimulá-la a tornar-se uma comunidade criativa. A unidade de análise é a comunidade formada no Centro Comunitário da Vila Gaúcha (CCVG), localizado no Morro Santa Tereza, em Porto Alegre. Como resultados da pesquisa, obteve-se expansão de conhecimento sobre os temas abordados e identificação de diretrizes que podem orientar o processo de desenvolvimento de soluções habilitantes e formação de comunidades criativas. / Faced with the crisis arising from the difficulty of the countries to meet social and economic interests, there are new forms of social organization, such as the so-called creative communities that seek to solve problems that affect them or create new opportunities. Despite the expansion of such cases, some communities can not be organized and become creative communities. In order to encourage collaboration between community members and explore the potential that can be produced of these relationships, bringing benefits to the common welfare, the strategic design is mentioned as a possible agent. Suitable for work in organizational environments, strategic design suggests links between actors, techniques, technologies, expertise and disciplines to meet different needs and achieve results of value and meaning effects. Acting within the framework of social innovation, using their skills to design new devices that stimulate behavioral changes, enabling community members themselves to solve the problems or generate new opportunities. To accomplish this mediation with the communities, are the enabling solutions, which are products systems, services, forms of communication, among other actions to encourage the development of skills and abilities of community members in order to cooperate to achieve a particular result. In order to assist in the development of this design process, supports the approach of Community Centered Design (CCD), which has its own methods for working in communities and propose design solutions in collaboration with its members. In this context, the present research, carried out through an action research seeks to understand how the strategic design can develop an enabling solution with the community to encourage it to become a creative community. The unit of analysis is the community of the Centro Comunitário da Vila Gaúcha (CCVG), located in Morro Santa Tereza, Porto Alegre. As search results, was obtained expansion of knowledge about the subjects and identification of guidelines that can drive the development process of enabling solutions and formation of creative communities.

More than 2.6 million troops have deployed in support of the wars in Iraq and Afghanistan. Still, surveys reveal that more than half feel “disconnected” from their civilian counterparts, and this feeling persists despite ongoing efforts, in the academy and elsewhere, to help returning veterans overcome physical and mental wounds, seek an education, and find meaningful ways to contribute to society after taking off the uniform. This dissertation argues that Iraq and Afghanistan War veterans struggle with reassimilation because they lack healthy, complete models of veteran identity to draw upon in their postwar lives, a problem they’re working through collectively in literature and artwork. The war veteran—returning home transformed by the harsh realities of military training and service, having seen humanity at its extremes, and interacting with a society apathetic toward his or her experiences—should engage in the act of storytelling. This act of sharing experiences and crafting-self subverts stereotypes. Storytelling, whether in a book read by millions, or in a single conversation with a close family member, should instruct civilians on the topic of human resiliency; it should instruct veterans on the topic of homecoming. But typically, veterans do not tell stories. Civilians create barriers to storytelling in the form of hollow platitudes—“thank you for your service” or “I can never understand what you’ve been through”—disconnected from the meaning of wartime service itself. The dissonance between veteran and civilian only becomes more complicated when one considers the implicit demands and expectations attached to patriotism. These often well-intentioned gestures and government programs fail to convey a message of appreciation because they refuse to convey a message of acceptance; the exceptional treatment of veterans by larger society implies also that they are insufficient, broken, or incomplete. So, many veterans chose conformity and silence, adopting one of two identities available to them: the forever pitied “Wounded Warrior” or the superficially praised “Hero.” These identities are not complete. They’re not even identities as much as they are collections of rumors, misrepresentations, and expectations of conformity. Once an individual veteran begins unconsciously performing the “Wounded Warrior” or “Hero” character, the number of potential outcomes available in that individual’s life is severely diminished. Society reinforces a feeling among veterans that they are “different.” This shared experience has resulted in commiseration, camaraderie, and also the proliferation of veterans’ creative communities. As storytellers, the members of these communities are restoring meaning to veteran-civilian discourse by privileging the nuanced experiences of the individual over stereotypes and emotionless rhetoric. They are instructing on the topics of war and homecoming, producing fictional and nonfictional representations of the veteran capable of competing with stereotypes, capable of reassimilation. The Introduction establishes the existence of veteran culture, deconstructs notions of there being a single or binary set of veteran identities, and critiques the social and cultural rhetoric used to maintain symbolic boundaries between veterans and civilians. It begins by establishing an approach rooted in interdisciplinary literary theory, taking veteran identity as its topic of consideration and the American unconscious as the text it seeks to examine, asking readers to suspend belief in patriotic rhetoric long enough to critically examine veteran identity as an apparatus used to sell war to each generation of new recruits. Patriotism, beyond the well-meaning gestures and entitlements afforded to veterans, also results in feelings of “difference,” in the veteran feeling apart from larger society. The inescapability of veteran “difference” is a trait which sets it apart from other cultures, and it is one bolstered by inaccurate and, at times, offensive portrayals of veterans in mass media and Hollywood films such as The Manchurian Candidate (1962), First Blood (1982), or Taxi Driver (1976). To understand this inescapability the chapter engages with theories of race, discussing the Korean War veteran in Home (2012) and other works by Toni Morrison to directly and indirectly explore descriptions of “difference” by African Americans and “others” not in positions of power. From there, the chapter traces veteran identity back to the Italian renaissance, arguing that modern notions of veteran identity are founded upon fears of returning veterans causing chaos and disorder. At the same time, writers such as Sebastian Junger, who are intimately familiar with veteran culture, repeatedly emphasize the camaraderie and “tribal” bonds found among members of the military, and instead of creating symbolic categories in which veterans might exist exceptionally as “Heroes,” or pitied as “Wounded Warriors,” the chapter argues that the altruistic nature which leads recruits to war, their capabilities as leaders and educators, and the need of larger society for examples of human resiliency are more appropriate starting points for establishing veteran identity. The Introduction is followed by an independent “Example” section, a brief examination of a student veteran named “Bingo,” one who demonstrates an ability to challenge, even employ veteran stereotypes to maintain his right to self-definition. Bingo’s story, as told in a “spotlight” article meant to attract student veterans to a college campus, portrays the veteran as a “Wounded Warrior” who overcomes mental illness and the scars of war through education, emerging as an exceptional example—a “Hero”—that other student veterans can model by enrolling at the school. Bingo’s story sets the stage for close examinations of the “Hero” and the “Wounded Warrior” in the first and second chapters. Chapter One deconstructs notions of heroism, primarily the belief that all veterans are “Heroes.” The chapter examines military training and indoctrination, Medal of Honor award citations, and film examples such as All Quiet on the Western Front (1930), Heroes for Sale (1933), Sergeant York (1941), and Top Gun (1986) to distinguish between actual feats of heroism and “Heroes” as they are presented in patriotic rhetoric. The chapter provides the Medal of Honor citations attached to awards presented to Donald Cook, Dakota Meyer, and Kyle Carpenter, examining the postwar lives of Meyer and Carpenter, identifying attempts by media and government officials to appropriate heroism—to steal the right to self-definition possessed by these men. Among these Medal of Honor recipients one finds two types of heroism: Sacrificing Heroes give something of themselves to protect others; Attacking Heroes make a difference during battle offensively. Enduring Heroes, the third type of heroism discussed in the chapter, are a new construct. Colloquially, and for all intents and purposes, an Enduring Hero is simply a veteran who enjoys praise and few questions. Importantly, veterans enjoy the “Hero Treatment” in exchange for silence and conforming to larger narratives which obfuscate past wars and pave the way for new ones. This chapter engages with theorists of gender—such as Jack Judith Halberstam, whose Female Masculinities (1998) anticipates the agency increasingly available to women through military service; like Leo Braudy, whose From Chivalry to Terrorism (2003) traces the historical relationship between war and gender before commenting on the evolution of military masculinity—to discuss the relationship between heroism and agency, begging a question: What do veterans have to lose from the perpetuation of stereotypes? This question frames a detailed examination of William A. Wellman’s film, Heroes for Sale (1933), in the chapter’s final section. This story of stolen valor and the Great Depression depicts the homecoming of a WWI veteran separated from his heroism. The example, when combined with a deeper understanding of the intersection between veteran identity and gender, illustrates not only the impact of stolen valor in the life of a legitimate hero, but it also comments on the destructive nature of appropriation, revealing the ways in which a veteran stereotypes rob service men and women of the right to draw upon memories of military service which complete with those stereotypes. The military “Hero” occupies a moral high ground, but most conceptions of military “Heroes” are socially constructed advertisements for war. Real heroes are much rarer. And, as the Medal of Honor recipients discussed in the chapter reveal, they, too, struggle with lifelong disabilities as well as constant attempts by society to appropriate their narratives. Chapter Two traces the evolution of the modern “Wounded Warrior” from depictions of cowardice in Stephen Crane’s The Red Badge of Courage (1895), to the denigration of World War I veterans afflicted with Shell Shock, to Kevin Powers’s Iraq War novel, The Yellow Birds (2012). As with “Heroes,” “Wounded Warriors” perform a stereotype in place of an authentic, individualized identity, and the chapter uses Walt Kowalski, the protagonist of Clint Eastwood’s film, Gran Torino (2008), as its major example. The chapter discusses “therapeutic culture,” Judith Butler’s work on identity-formation, and Eva Illouz’s examination of a culture obsessed with trauma to comment on veteran performances of victimhood. Butler’s attempts to conceive of new identities absent the influence of systems of definition rooted in the state, in particular, reveal power in the opposite of silence, begging another question: What do civilians have to gain from the perpetuation of veteran stereotypes? Largely, the chapter finds, the “Wounded Warrior” persists in the minds of civilians who fear the veteran’s capacity for violence. A broken, damaged veteran is less of a threat. The story of the “Wounded Warrior” is not one of sacrifice. The “Wounded Warrior” exists after sacrifice, beyond any measure of “honor” achieved in uniform. “Wounded Warriors” are not expected to find a cure because the wound itself is an apparatus of the state that is commodified and injected into the currency of emotional capitalism. This chapter argues that military service and a damaged psyche need not always occur together. Following the second chapter, a close examination of “The Bear That Stands,” a short story by Suzanne S. Rancourt which confronts the author’s sexual assault while serving in the Marines, offers an alternative to both the “Hero” and the “Wounded Warrior” stereotypes. Rancourt, a veteran “Storyteller,” gives testimony of that crime, intervening in social conceptions of veteran identity to include a female perspective. As with the example of Bingo, the author demonstrates an innate ability to recognize and challenge the stereotypes discussed in the first and second chapters. This “Example” sets the stage for a more detailed examination of “Veteran Storytellers” and their communities in the final chapter. Chapter Three looks for examples of veteran “difference,” patriotism, the “Wounded Warrior,” and the “Hero” in nonfiction, fiction, and artwork emerging from the creative arts community, Military Experience and the Arts, an organization which provides workshops, writing consultation, and publishing venues to veterans and their families. The chapter examines veteran “difference” in a short story by Bradley Johnson, “My Life as a Soldier in the ‘War on Terror.’” In “Cold Day in Bridgewater,” a work of short fiction by Jerad W. Alexander, a veteran must confront the inescapability of that difference as well as expectations of conformity from his bigoted, civilian bartender. The final section analyzes artwork by Tif Holmes and Giuseppe Pellicano, which deal with the problems of military sexual assault and the effects of war on the family, respectively. Together, Johnson, Alexander, Holmes, and Pellicano demonstrate skills in recognizing stereotypes, crafting postwar identities, and producing alternative representations of veteran identity which other veterans can then draw upon in their own homecomings. Presently, no unified theory of veteran identity exists. This dissertation begins that discussion, treating individual performances of veteran identity, existing historical, sociological, and psychological scholarship about veterans, and cultural representations of the wars they fight as equal parts of a single text. Further, it invites future considerations of veteran identity which build upon, challenge, or refute its claims. Conversations about veteran identity are the opposite of silence; they force awareness of war’s uncomfortable truths and homecoming’s eventual triumphs. Complicating veteran identity subverts conformity; it provides a steady stream of traits, qualities, and motivations that veterans use to craft postwar selves. The serious considerations of war and homecoming presented in this text will be useful for Iraq and Afghanistan War veterans attempting to piece together postwar identities; they will be useful to scholars hoping to facilitate homecoming for future generations of war veterans. Finally, the Afterword to the dissertation proposes a program for reassimilation capable of harnessing the veteran’s symbolic and moral authority in such a way that self-definition and homecoming might become two parts of a single act.