For over 2000 years, miners extracted lead from the moorland of southeastern Peak District. By the early twentieth century the landscape underwent an economic and demographic transformation, as local authorities and heritage groups have ‘naturalised’ the industrial landscape of the southern Peak District, presenting it as a pastoral idyll. These preservation policies occlude the industrial remains by sanitising its diverse past, providing only a partial telling of the landscape. This thesis is about critically assessing these on-going preservation policies, by rethinking the idea of heritage through current cultural geography ideas of landscape, heritage and remembering. Therefore, this thesis argues for an enacted landscape that is perceived and practiced in many ways. This thesis aims to do three things. First, to critically rethink heritage practices of English rural landscapes. Second, to recover the lost ‘minor histories’ of a landscape through a presentation of alternative landscape histories. Third, to contribute to creative methods of landscape research by using an ethnographic approach of oral history, aural recordings, and personal drawing to the study it. The outcome is a constellated and entangled analysis of the rural landscape that recovers the forgotten stories and challenges the authorised heritage discourse of the English rural landscape.

In recent decades social scientists have started to use qualitative creative methods1 more and more, because of epistemological and methodological developments on the one hand and demands of innovation by governmental funding agencies on the other. In my thesis I look at the research practices of social scientists who use these qualitative creative methods and answer the following main research question: How are practices and approaches from the arts (specifically visual lens-based arts, poetry, performance and narrative) negotiated in social scientific research practice? This question has been divided into the following three sub-questions: 1) How do social scientists negotiate the use of creative methods with other members of their research community? 2) How do social scientists negotiate the use of creative methods into their own research practices? 3) And how do creative methods emerge in the process? Using Lave and Wenger's approach to communities of practice (1991; Wenger, 1998) and Ingold and Hallam's (2007) conceptualisation of improvisation for my theoretical framework, I look at these practices as constantly emerging and changing, but at the same time determined by those same practices. Based on ongoing conversations with postgraduate research students, interviews with experienced researchers, participant observation at conferences and videos of my participants' presentations, I conclude that the use of creative methods is always embedded within existing research practices. When this is not the case, either participants themselves or other academics experience the creative methods as problematic or even as non-academic. In those cases boundarywork (the in- and exclusion of what is deemed academic) is performed more fiercely, making it difficult, if not impossible for creative methods to be truly innovative in the sense that it means a break with previous practices. Instead, we see small shifts in participants' academic practices and how creative methods are taken up in these practices. This means improvisation is a more apt term to describe how creative methods are making their way into social scientific research practices/into the social sciences. As such this conclusion has consequences for the way we think about learning methods, the production of knowledge, innovative methods and (inter)disciplinarity.

Through understanding the way in which design can contribute in a holistic way to sustainability, this thesis investigates and proposes the design methods, and characteristics of sustainable products, services or systems capable of contributing to our happiness, hence shaping and promoting society towards sustainable lifestyles. It presents the first indications of the relationship between Happiness and Sustainable Design. The review of a vast array of phenomena (Happiness, Sustainable Lifestyles/Society, Sustainable Product Design, Consumption Behaviour, and the emerging Role of the Designer), shed light on this relationship, as well as making evident the social gap that represents within sustainable design. This led to the development of an Initial Theory to bridge this gap, which then proposed the development of new design theories and tools and also a radical evolution of the design discipline. Preliminary Testing with sustainable design thinkers validated this theory and pointed out other interesting avenues in order to develop and test it further. Subsequently, through an exploratory and iterative approach, with the Initial Theory at the heart of the research, the Design for Happiness workshop framework emerged and took shape. Two pilot studies and a first study facilitated its planning, development and implementation, which ultimately led to a strong Design Process and Tool-Kit. In addition, two Main Studies confirmed its effectiveness and put forward a robust conceptual design outcome; the trials of which demonstrated its success and high potential to contribute to Happiness and Sustainable Lifestyles. Overall, the results and findings of this research demonstrated that material changes can take place without having to do without social networks which feed our happiness. The Design for Happiness workshop framework is a practical proposal that encourages multidisciplinary groups to reinterpret the relationship between objects and users, hence approaching design from a different perspective that results in innovative conceptual designs. Here, the designer becomes a process facilitator who shares design tools, encouraging participation in the construction of collective and integrated design visions and scenarios. Creativity and Sustainability are pivotal pillars of this proposal and its success is anchored in its capacity to deliver a collection of experiences that contribute to happiness through the way in which they require people to live in general. It also challenges the evolution of the Design discipline and its consequential theoretical development. The relationship between Design, Sustainability and Happiness is new territory. This research is the first on the subject of Sustainable Design and Happiness, therefore offering a groundbreaking opportunity for design, designers, and its practical applications.

This thesis seeks to challenge deficit approaches to 'different' childhoods. It does this through documenting the everyday life experiences of Sylheti-heritage Muslim children in urban Scotland, and reading these childhoods through the lives of children and their kin in rural Sylhet, Bangladesh. The research is based on 3 years' ethnographic fieldwork (January 2008-February 2011), in Scotland and in Bangladesh, and incorporates various child-friendly creative research methods used to elicit data on children's realities and perspectives on their lives. These data are supplemented by data from the children's mothers (and occasionally wider family) in both locations. Transnational migration between the Indian subcontinent and the UK is not new, but little research has focused on childhoods, in particular the lived experiences of young Muslim children of marriage-migrant mothers in Scotland, where this minority ethnic 'community' is quite small, later-formed and largely invisible. Little early childhood research has been conducted on children's everyday lives either in rural Sylhet or in Scotland. The history and context of migration and the realities of children's lives in Scotland, as migrant-heritage Muslim children, are largely unexplored and their particular needs are little understood. Some media and public imaginaries and discourses portray Muslim families and their communities as 'problematic', increasingly so since September 11th, 2001, with recent events in the UK, mainland Europe and the Middle East adding fuel to such sentiments. Many Sylheti-heritage families experience harassment and abuse, or live in fear of such eventualities, and the women and young children in my Scottish cohort have largely withdrawn for safety from the visible public domain. This research aims to contribute to a body of knowledge on early childhood(s). Early childhood interventions are high on Scotland's, and the UK's, policy agendas. These policies aim to create better futures and greater inclusiveness for all residents, but they are problematic for families that do not match the very Euro-American middle-class conceptions of childhood and family norms that inform policy. Despite the introduction of strengths-based models in family and childhood policy and practice, such 'different' children and families may still be viewed from a deficits perspective. Such deficit discourses may be rooted in a language of cultural deprivation and special needs, focusing on perceived deficiencies, resulting in the pathologising of certain groups, which become normalised over time. The global Early Years' agenda is also reflected in interventions in rural Bangladesh, with imported global ideals and norms of which most village families have no knowledge and which bear little relevance to their everyday lives. For example, many interventions exist for early childhood in the form of pre-school and nursery provision, but many are based on very Eurocentric models of childhood, which although pertinent in the Global North may not 'fit' with the realities of life for most rural children and their families. There is an over-emphasis on children's futures and children as 'becomings', the future citizens they will become, rather than on their quality of life here and now as 'beings'. This thesis frames children's everyday lives in terms of 'domains': places of childhood (locations of children's day-to-day activities), 'networks': spaces of childhood (social networks and relationships with kin and friends); and 'preoccupations': pursuits of childhood (how they spend their lives and what meaning, if any, they attach to these different aspects of life). The gendered character of these experiences is highlighted throughout. Children's lives, particularly when young, are influenced and shaped by their kin, yet opportunities for agency also exist. When women migrate after marriage from Sylhet to Scotland, some aspects of childhood and family lives remain fairly constant while others change quite radically. For instance, whilst children's lives continue to be centred on close family, family may be much smaller and less accessible than in Sylhet. Concepts of house and neighbourhood continue to be important, but Sylheti village childhoods are largely spent outdoors, whilst children are largely restricted to the family home in Scotland; children's physical domains of activity diminish and women and children have few opportunities to connect socially beyond their existing family networks, particularly in the early years. Social life, very rich and foregrounded in Sylheti villages, becomes potentially more restricted in Scotland although women work hard to create and maintain social opportunities and networks in Scotland, with wider Diasporic kin, and the Sylheti villages to which they have connections. Through their representations and narratives, both drawn and spoken, children convey rich examples of their childhood experiences, in both locales, which challenge deficit discourses on 'different childhoods'.

Tyrimo tikslas – ištirti kūrybinių metodų taikymo ergoterapijoje efektyvumą, ugdant sergančiųjų psichikos ligomis bendravimo įgūdžius. Uždaviniai: (1) įvertinti sergančiųjų psichikos ligomis bendrą elgesį pradžioje ir pabaigoje ergoterapijos taikant kūrybinius ir nekūrybinius metodus, (2) įvertinti sergančiųjų psichikos ligomis tarpasmeninį elgesį pradžioje ir pabaigoje ergoterapijos taikant kūrybinius ir nekūrybinius metodus, (3) įvertinti sergančiųjų psichikos ligomis užduočių atlikimo kokybę pradžioje ir pabaigoje ergoterapijos taikant kūrybinius ir nekūrybinius metodus. Metodika: Tyrimas buvo vykdomas 2012 m. kovo-birželio mėn. Kauno rajono Vilkijos neįgaliųjų sąjungoje, Vilkijos PSPC ir UAB „Neuronas“ įstaigoje. Tyrime dalyvavo 32 sergantys psichikos ligomis tiriamieji(amžius nuo 22 iki 71 metų): moterys 71,9 proc. (n=23) ir 28,1 proc. (n=9) vyrai. Visiems tiriamiesiems buvo taikoma ergoterapija grupėse: tiriamųjų grupėje taikyti kūrybiniai, o kontrolinėje grupėje – nekūrybiniai metodai. Vyko 10 ergoterapijos užsiėmimų, pora kartų savaitėje. Veiklos trukmė – 1 val. Visi tiriamieji buvo vertinami tyrėjo sukurta anketa ir „Visapusiško užimtumo terapijos vertinimo skale“ (angl COTE). Rezultatai. Tyrimo metu taikant kūrybinius ir nekūrybinius metodus ergoterapijoje ugdant respondentų bendrą elgesį (BE), tarpasmeninį elgesį (TE) ir užduoties atlikimo elgesį (UAE) užduoties atlikimo metu nustatėme, kad: BE – efektyvūs nekūrybiniai metodai ugdant respondentų... [toliau žr. visą tekstą] / Objectives: (1) to evaluate the general behaviour of people with mental disorderat the beginning and at the end of occupational therapy by applying creative and non-creative methods; (2) to evaluate interpersonal behaviour of people with mental disorder at the beginning and at the end of occupational therapy by applying creative and non-creative methods; (3) to evaluatethe quality of task performance at the beginning and at the end of occupational therapy by applying creative and non-creative methods. Methods: The research was carried out in Vilkija during March–June, 2012, at the Alliance for People with Disabilities in Kaunas District, Vilkija Primary Health Care Centre, and UAB Neuronas (Ltd.). 32 participants with mental disorder (age between 22 and 71) were involved in the research: 71.9 per cent (n=23) of women and 28.1 per cent (n=9) of men. Occupational therapy in groups was applied for all individuals in the study: in the research group, the creative methods were employed, whereas in the control group, the non-creative methods were applied. There were 10 sessions of occupational therapy, twice a week. The duration of the activity was 1 hour. All individuals in the study were assessed by the researcher’s questionnaire and the Comprehensive Occupational Therapy Evaluation Scale (COTE scale). Results. During the research, applying creative and non-creative methods in occupational therapy for the development of respondents’ General Behaviour (GB), Interpersonal... [to full text]

Este trabalho tem por objetivo sistematizar alguns princípios de solução da natureza através da elaboração de uma taxonomia. Essa taxonomia pode ser utilizada como embasamento para a construção de ferramenta para o processo de projeto, cuja função é apoiar o designer na geração de alternativas durante a fase conceitual do design de produto. Para a consecução do trabalho foram investigadas três áreas do conhecimento: o processo de desenvolvimento de produto, com ênfase na fase conceitual e nos métodos criativos; os princípios de solução da natureza através de referências da biologia, da matemática e da biomimética; e a teoria da classificação, investigada com o objetivo de compreender uma metodologia adequada à organização do conhecimento na área proposta. O processo de intervenção foi realizado em conformidade com as metodologias levantadas no referencial teórico, oportunizando a elaboração da taxonomia dos princípios de solução da natureza. A sistematização do conhecimento realizada permitiu a proposição de uma ferramenta de aplicação direta ao designer para a geração de alternativas para o projeto de produto. / This paper`s aim is to systematize some of the solution principles of nature by developing a taxonomy. This system will be the basis for building a tool for de project process, which function is to help the designer when creating alternatives during the conceptual phase of product design. Three areas of knowledge were investigated: the process of product development, with emphasis on the conceptual phase and creative methods; biology, mathematics and biomimicry to understand nature`s best design; the theory of classification, studied to understand a methodology for the organization of knowledge in the proposed area. The process was conducted according to methods raised in the theoretical framework, allowing the solution principles of nature taxonomy to develop. The systematization of the knowledge acquired allowed the proposition of a new tool for direct application in creating alternatives on product design.

<p>Den externa redovisningens uppgift är att förse olika intressenter med information om företagets finansiella situation. Den visar inte bara på hur det har gått för ett företag utan ger också en grund för möjliga investeringar i företaget. Informationen är ett viktigt redskap för företagets intressenter och det blir naturligt för företaget att styra informationen åt de håll som förväntas av omvärlden. Det är då begreppet kreativ redovisning kommer i uttryck. Det kan förklaras med att företag på något sätt förskönar bilden av ett företags prestation som presenteras i form av en årsredovisning.</p><p>Det finns olika syften med att använda sig av kreativ redovisning, beroende på vilken intressent företaget vänder sig till. Företagen har många intressenter som kan ta skada av felaktig eller förvrängd information. Enligt svensk lagstiftning ska en årsredovisning upprättas efter god redovisningssed och ge en rättvisande bild av företagets prestationer och det kan ge möjligheter och utrymmen för en kreativ redovisning. Det finns olika kända metoder som kan utföra detta och användandets omfattning kan variera stort. Det finns metoder som är fullt lagliga som använder sig av flexibiliteten i lagar och praxis och sedan finns det metoder som är mer allvarliga och kan betraktas som rena bokföringsbrott.</p><p>Syftet med vår uppsats är att definiera begreppet kreativ redovisning och titta på om det är ett stort problem i Sverige. Eftersom det finns många intressenter som använder sig av företagens finansiella information har vi valt att endast studera de som investerar i företagen, det vill säga investerare och analytiker. I vår teori/litteraturstudie börjar vi med att definiera begreppet kreativ redovisning följt av olika metoder som används, hur kreativ redovisning motverkas och varför företagen använder sig av kreativ redovisning. Vidare tar vi upp om val av redovisningsmetoder, olika sorters kreativ redovisning och om den kreativa redovisningen är i strid med god redovisningssed och rättvisande bild. Slutligen presenteras svenska exempel av kreativ redovisning samt att ge en definition om vad som krävs för att det ska uppfattas som ett problem. I vår empiri har vi valt att utgå utifrån en kvalitativ undersökning i form av intervju för att ta reda på om det uppfattas som ett problem i Sverige av våra respondenter.</p><p>I vår slutsats har vi bland annat kommit fram till att det inte uppfattas som ett stort problem utifrån intervjuerna och det har inte funnits någon exakt definition på vad kreativ redovisning är utifrån hur respondenterna har svarat men även hur författarna beskriver begreppet från vår litteraturstudie.</p>

Den externa redovisningens uppgift är att förse olika intressenter med information om företagets finansiella situation. Den visar inte bara på hur det har gått för ett företag utan ger också en grund för möjliga investeringar i företaget. Informationen är ett viktigt redskap för företagets intressenter och det blir naturligt för företaget att styra informationen åt de håll som förväntas av omvärlden. Det är då begreppet kreativ redovisning kommer i uttryck. Det kan förklaras med att företag på något sätt förskönar bilden av ett företags prestation som presenteras i form av en årsredovisning. Det finns olika syften med att använda sig av kreativ redovisning, beroende på vilken intressent företaget vänder sig till. Företagen har många intressenter som kan ta skada av felaktig eller förvrängd information. Enligt svensk lagstiftning ska en årsredovisning upprättas efter god redovisningssed och ge en rättvisande bild av företagets prestationer och det kan ge möjligheter och utrymmen för en kreativ redovisning. Det finns olika kända metoder som kan utföra detta och användandets omfattning kan variera stort. Det finns metoder som är fullt lagliga som använder sig av flexibiliteten i lagar och praxis och sedan finns det metoder som är mer allvarliga och kan betraktas som rena bokföringsbrott. Syftet med vår uppsats är att definiera begreppet kreativ redovisning och titta på om det är ett stort problem i Sverige. Eftersom det finns många intressenter som använder sig av företagens finansiella information har vi valt att endast studera de som investerar i företagen, det vill säga investerare och analytiker. I vår teori/litteraturstudie börjar vi med att definiera begreppet kreativ redovisning följt av olika metoder som används, hur kreativ redovisning motverkas och varför företagen använder sig av kreativ redovisning. Vidare tar vi upp om val av redovisningsmetoder, olika sorters kreativ redovisning och om den kreativa redovisningen är i strid med god redovisningssed och rättvisande bild. Slutligen presenteras svenska exempel av kreativ redovisning samt att ge en definition om vad som krävs för att det ska uppfattas som ett problem. I vår empiri har vi valt att utgå utifrån en kvalitativ undersökning i form av intervju för att ta reda på om det uppfattas som ett problem i Sverige av våra respondenter. I vår slutsats har vi bland annat kommit fram till att det inte uppfattas som ett stort problem utifrån intervjuerna och det har inte funnits någon exakt definition på vad kreativ redovisning är utifrån hur respondenterna har svarat men även hur författarna beskriver begreppet från vår litteraturstudie.

This thesis presents new theories and creative techniques for exploring ‘designing for home happiness'. Set in the context of a primarily unsustainable and unhappy world, home is understood as a facilitator of current lifestyle practices that could also support long-term happiness activities, shown to promote more sustainable behaviour. It has yet to be examined extensively from a happiness perspective and many homes lack opportunities for meaningful endeavours. Service Design, an approach that supports positive interactions, shows potential in facilitating ‘designing for home happiness' but its tools are generally employed for visualising new systems/services or issues within existing ones instead of exploring related subjectivity. Art therapy techniques, historically used for expressing felt experiences, present applicable methods for investigating such subjective moments and shaping design opportunities for home happiness but have yet to be trialled in a design research context. This thesis therefore explores how Art Therapy and Service Design can be used successfully for ‘designing for home happiness'. A first study proposes photo elicitation as a creative method to explore, with participants from UK family households, several significant home happiness needs. Subsequently, art therapy techniques are proposed in Study 2 through two bespoke Happy-Home Workshops. This gives way to the Home Happiness Theory and Designing for Home Happiness Theory, which enable designers to design for home happiness. The Designing for Home Happiness Framework emerges from these studies proposing a new design creative method delivered through a workshop with specialised design tools and accompanying process for creating home happiness designs (i.e. services, product-service-systems). Through two Main Studies the framework is tested and validated with design experts in two different contexts, Loughborough (UK) and Limerick (Ireland), confirming its suitability and transferability in ‘designing for home happiness'. Resulting concepts support collective home happiness and social innovations by facilitating appropriate social contexts for their development. Overall, this research is the first to combine art therapy techniques with service design methods, offering original theories and approaches for ‘designing for home happiness' within Service Design and for social innovation. Collectively, this research delivers new creative methods for service designers, social innovators and designers more generally to investigate and support happier experiences within and outside the home for a more sustainable future.

Este trabalho tem por objetivo sistematizar alguns princípios de solução da natureza através da elaboração de uma taxonomia. Essa taxonomia pode ser utilizada como embasamento para a construção de ferramenta para o processo de projeto, cuja função é apoiar o designer na geração de alternativas durante a fase conceitual do design de produto. Para a consecução do trabalho foram investigadas três áreas do conhecimento: o processo de desenvolvimento de produto, com ênfase na fase conceitual e nos métodos criativos; os princípios de solução da natureza através de referências da biologia, da matemática e da biomimética; e a teoria da classificação, investigada com o objetivo de compreender uma metodologia adequada à organização do conhecimento na área proposta. O processo de intervenção foi realizado em conformidade com as metodologias levantadas no referencial teórico, oportunizando a elaboração da taxonomia dos princípios de solução da natureza. A sistematização do conhecimento realizada permitiu a proposição de uma ferramenta de aplicação direta ao designer para a geração de alternativas para o projeto de produto. / This paper`s aim is to systematize some of the solution principles of nature by developing a taxonomy. This system will be the basis for building a tool for de project process, which function is to help the designer when creating alternatives during the conceptual phase of product design. Three areas of knowledge were investigated: the process of product development, with emphasis on the conceptual phase and creative methods; biology, mathematics and biomimicry to understand nature`s best design; the theory of classification, studied to understand a methodology for the organization of knowledge in the proposed area. The process was conducted according to methods raised in the theoretical framework, allowing the solution principles of nature taxonomy to develop. The systematization of the knowledge acquired allowed the proposition of a new tool for direct application in creating alternatives on product design.