Taking my own personal history as a starting point this paper will look at how we inherit culture and in turn shape it through the stories and objects that drive its formation. This extends into how these objects proliferate within our culture and the way in which the passing of History impacts on the way we view them and as a consequence ourselves as individuals and as a group. Identity is then passed on through generations through the act of storytelling, and this process is integral to this research paper. This is also a personal journey, taking place in varying sites, from a rusting car hulk in a back yard in North Canterbury, to a University in Wellington and another rusted car, which has gone through a strange restoration. The Morris Minor has been embraced as a narcissistic object that I have chosen to double in order to explore my individual and wider national cultural history and identity. One of the key themes of this inherited identity is largely based around Nostalgia for an ideal past. This ideal is a fiction, a layering of intended futures as well as a selective past. This works in the same way as the modern artistic preoccupation with gothic histories, but instead of a positive ideal we have the creation of a basement of horrors that lurks beneath the surface. Be it positivist idealism or Gothic inversion, one way of focusing on the way these fictions differ markedly from the reality of the objects existence, is to show the artifice of the stories told by enhancing the components of the story that are already exaggerated, for the Morris Minor this means getting as far away from its existence as a rusting hulk in the backyard as possible. The longing for a past that may or may not exist, is less important as existing in reality but instead for what these fictions supply in their retelling. The concept of the Uncanny is integral to this retelling of memory, in that through a memories reanimation it can only approximate the original event leaving gaps for circumspection and invention. This retelling necessitates a reorientation in the relationship between the teller of the tale and the listener and between the viewer and the object viewed. The research culminates in the alteration of a Morris Minor to appear as one continuous surface. The intention of which is to engage with the differing versions of the objects past through taking an active part in its reconstruction as artwork with the aim of reassessment not only of my individual approach to the object but also the viewers.

Taking my own personal history as a starting point this paper will look at how we inherit culture and in turn shape it through the stories and objects that drive its formation. This extends into how these objects proliferate within our culture and the way in which the passing of History impacts on the way we view them and as a consequence ourselves as individuals and as a group. Identity is then passed on through generations through the act of storytelling, and this process is integral to this research paper. This is also a personal journey, taking place in varying sites, from a rusting car hulk in a back yard in North Canterbury, to a University in Wellington and another rusted car, which has gone through a strange restoration. The Morris Minor has been embraced as a narcissistic object that I have chosen to double in order to explore my individual and wider national cultural history and identity. One of the key themes of this inherited identity is largely based around Nostalgia for an ideal past. This ideal is a fiction, a layering of intended futures as well as a selective past. This works in the same way as the modern artistic preoccupation with gothic histories, but instead of a positive ideal we have the creation of a basement of horrors that lurks beneath the surface. Be it positivist idealism or Gothic inversion, one way of focusing on the way these fictions differ markedly from the reality of the objects existence, is to show the artifice of the stories told by enhancing the components of the story that are already exaggerated, for the Morris Minor this means getting as far away from its existence as a rusting hulk in the backyard as possible. The longing for a past that may or may not exist, is less important as existing in reality but instead for what these fictions supply in their retelling. The concept of the Uncanny is integral to this retelling of memory, in that through a memories reanimation it can only approximate the original event leaving gaps for circumspection and invention. This retelling necessitates a reorientation in the relationship between the teller of the tale and the listener and between the viewer and the object viewed. The research culminates in the alteration of a Morris Minor to appear as one continuous surface. The intention of which is to engage with the differing versions of the objects past through taking an active part in its reconstruction as artwork with the aim of reassessment not only of my individual approach to the object but also the viewers.

Taking my own personal history as a starting point this paper will look at how we inherit culture and in turn shape it through the stories and objects that drive its formation. This extends into how these objects proliferate within our culture and the way in which the passing of History impacts on the way we view them and as a consequence ourselves as individuals and as a group. Identity is then passed on through generations through the act of storytelling, and this process is integral to this research paper. This is also a personal journey, taking place in varying sites, from a rusting car hulk in a back yard in North Canterbury, to a University in Wellington and another rusted car, which has gone through a strange restoration. The Morris Minor has been embraced as a narcissistic object that I have chosen to double in order to explore my individual and wider national cultural history and identity. One of the key themes of this inherited identity is largely based around Nostalgia for an ideal past. This ideal is a fiction, a layering of intended futures as well as a selective past. This works in the same way as the modern artistic preoccupation with gothic histories, but instead of a positive ideal we have the creation of a basement of horrors that lurks beneath the surface. Be it positivist idealism or Gothic inversion, one way of focusing on the way these fictions differ markedly from the reality of the objects existence, is to show the artifice of the stories told by enhancing the components of the story that are already exaggerated, for the Morris Minor this means getting as far away from its existence as a rusting hulk in the backyard as possible. The longing for a past that may or may not exist, is less important as existing in reality but instead for what these fictions supply in their retelling. The concept of the Uncanny is integral to this retelling of memory, in that through a memories reanimation it can only approximate the original event leaving gaps for circumspection and invention. This retelling necessitates a reorientation in the relationship between the teller of the tale and the listener and between the viewer and the object viewed. The research culminates in the alteration of a Morris Minor to appear as one continuous surface. The intention of which is to engage with the differing versions of the objects past through taking an active part in its reconstruction as artwork with the aim of reassessment not only of my individual approach to the object but also the viewers.

Taking my own personal history as a starting point this paper will look at how we inherit culture and in turn shape it through the stories and objects that drive its formation. This extends into how these objects proliferate within our culture and the way in which the passing of History impacts on the way we view them and as a consequence ourselves as individuals and as a group. Identity is then passed on through generations through the act of storytelling, and this process is integral to this research paper. This is also a personal journey, taking place in varying sites, from a rusting car hulk in a back yard in North Canterbury, to a University in Wellington and another rusted car, which has gone through a strange restoration. The Morris Minor has been embraced as a narcissistic object that I have chosen to double in order to explore my individual and wider national cultural history and identity. One of the key themes of this inherited identity is largely based around Nostalgia for an ideal past. This ideal is a fiction, a layering of intended futures as well as a selective past. This works in the same way as the modern artistic preoccupation with gothic histories, but instead of a positive ideal we have the creation of a basement of horrors that lurks beneath the surface. Be it positivist idealism or Gothic inversion, one way of focusing on the way these fictions differ markedly from the reality of the objects existence, is to show the artifice of the stories told by enhancing the components of the story that are already exaggerated, for the Morris Minor this means getting as far away from its existence as a rusting hulk in the backyard as possible. The longing for a past that may or may not exist, is less important as existing in reality but instead for what these fictions supply in their retelling. The concept of the Uncanny is integral to this retelling of memory, in that through a memories reanimation it can only approximate the original event leaving gaps for circumspection and invention. This retelling necessitates a reorientation in the relationship between the teller of the tale and the listener and between the viewer and the object viewed. The research culminates in the alteration of a Morris Minor to appear as one continuous surface. The intention of which is to engage with the differing versions of the objects past through taking an active part in its reconstruction as artwork with the aim of reassessment not only of my individual approach to the object but also the viewers.

Taking my own personal history as a starting point this paper will look at how we inherit culture and in turn shape it through the stories and objects that drive its formation. This extends into how these objects proliferate within our culture and the way in which the passing of History impacts on the way we view them and as a consequence ourselves as individuals and as a group. Identity is then passed on through generations through the act of storytelling, and this process is integral to this research paper. This is also a personal journey, taking place in varying sites, from a rusting car hulk in a back yard in North Canterbury, to a University in Wellington and another rusted car, which has gone through a strange restoration. The Morris Minor has been embraced as a narcissistic object that I have chosen to double in order to explore my individual and wider national cultural history and identity. One of the key themes of this inherited identity is largely based around Nostalgia for an ideal past. This ideal is a fiction, a layering of intended futures as well as a selective past. This works in the same way as the modern artistic preoccupation with gothic histories, but instead of a positive ideal we have the creation of a basement of horrors that lurks beneath the surface. Be it positivist idealism or Gothic inversion, one way of focusing on the way these fictions differ markedly from the reality of the objects existence, is to show the artifice of the stories told by enhancing the components of the story that are already exaggerated, for the Morris Minor this means getting as far away from its existence as a rusting hulk in the backyard as possible. The longing for a past that may or may not exist, is less important as existing in reality but instead for what these fictions supply in their retelling. The concept of the Uncanny is integral to this retelling of memory, in that through a memories reanimation it can only approximate the original event leaving gaps for circumspection and invention. This retelling necessitates a reorientation in the relationship between the teller of the tale and the listener and between the viewer and the object viewed. The research culminates in the alteration of a Morris Minor to appear as one continuous surface. The intention of which is to engage with the differing versions of the objects past through taking an active part in its reconstruction as artwork with the aim of reassessment not only of my individual approach to the object but also the viewers.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Este trabalho pesquisou os usos do Jornal Eletrônico Educação & Imagem, feitos para e por professores da rede pública. As práticas narradas e as imagens trazidas pelos docentes, que são usuários do jornal, nos possibilitou refletir sobre os currículos e os conhecimentos que têm sido tecidos cotidianamente. Para analisar as narrativas e as imagens presentes nos artigos escritos pelos professores foram pesquisados os editoriais redigidos por cada grupo de pesquisa, que faz parte da elaboração do periódico, e a seção Voz do leitor que publica artigos escritos por professores. Este estudo tem suas relações teóricoepistemológicas e teórico-metodológicas com as pesquisas nos/dos/com os cotidianos (Lefebvre, Certeau) que têm permitido compreender as redes de conhecimentos e significações que se dão nos múltiplos cotidianos em que vivemos, entendendoos como contextos educativos. Para falar sobre a importância da narrativa em pesquisa alguns autores como Walter Ong e Nilda Alves embasaram este estudo. Para o tratamento das noções de tecnologia, currículo e imagens dialogamos com os autores Nilda Alves, MartinBarbero, Boris Kossoy, Roberto Macedo, Alice Lopes, Elisabeth Macedo, Arlindo Machado, Pierre Lévy, Edméa Santos e Marco Silva. Dos artigos analisados observei que as imagens utilizadas pelos professores que escreveram para o jornal apresentaram uma multiplicidade de usos. A maioria fez uso de material fotográfico. Em seus artigos temos imagens usadas nos seguintes contextos: como registro de suas atividades com os alunos, como registro/memória autobiográfica, como reflexão da própria imagem apresentada ou como ilustração do texto dentre outros. Ao trabalhar com estas narrativas e imagens temos a oportunidade de discutir como se dá e como se tem desdobrado os usos do periódico eletrônico, possibilitandonos compreender e complexificar sobre outros processos cotidianos, a partir destes que nos é retratado e narrado. / This paper aims to research the uses of the electronic journal Education & Image, made for and by public school teachers. Practices narrated by the teachers who are daily users enable us to reflect on the curriculum and knowledge that have been daily woven. To analyze the narratives contained in articles written by teachers. I focused this work in the editorial written by each research group which is part of the preparation of the journal and in the Readers comments section. This study has its theoretical and epistemological relations and theoretical and methodological approaches to research in / of / with daily life (Lefebvre, Certeau) which have allowed us to understand the network of knowledge and senses that occur in many everyday situations we live in, understanding them as educational contexts. In this sense, we work with the idea that knowledge is woven, too, through the customs and practices that humans create in their daily lives in a different way than we have been taught, in Modernity, in science. Thus, I believe it is necessary and possible search relations practitioners (Certeau) with the many existing cultural artifacts. These will be studied through the uses to which these teachers develop in contact with the newspaper with the images and narratives it contains.

Cette recherche porte sur les conséquences de la création du barrage des Trois Gorges (Chine). Une enquête de terrain menée au cœur du Réservoir, dans le district de Yunyang (Chongqing), a permis d’étudier différents registres interprétatifs et formes de résilience (par sublimation, dramatisation ou immanence) développés tant par les habitants que par les autorités pour appréhender les bouleversements récents et faire face à ce contexte de profonde rupture. Cette étude interroge, d’un point de vue anthropologique, la perception sociale du barrage et de ses conséquences topographiques, écologiques, économiques et sociales (notamment impliquées par le déplacement, l’éclatement social et familial) aussi bien que les processus de reconfigurations territoriales et de reconstruction de l’espace régional et local après la montée des eaux. Elle traite également des modalités de réinscription au sein des territoires transformés, alors que le district est séparé de son ancienne entité administrative régionale de référence, le Sichuan, et qu’une partie de la population est forcée de quitter définitivement la région. Ces thèmes sont envisagés par le biais d’un angle d’approche particulier, celui de la manipulations « d’artefacts culturels ». Le culte rendu aux divinités (et notamment à Zhang Fei, héros national divinisé localement), l’emploi de toponymes, de concepts, le récit d’adages, de mythes, de légendes et de chansons, l’interprétation géomantique et architecturale, ou encore l’évocation portant sur l’histoire, constituent autant de biais, sujets à des interprétations et à des reconstructions circonstancielles de la part des habitants et des autorités, pour mettre en mot le bouleversement et agir sur la nouvelle réalité / This research explores the conceptualization and the experience of the consequences brought about by the Three Gorges Dam (China) construction. Through my fieldwork conducted at the core of the Reservoir, in Yunyang County (Chongqing), I have studied different modalities of interpretation and of resilience developed both by the local population and by the authorities trying to understand and deal with this profound disruption. Through an anthropological point of view, this study analyzes the social perceptions of the Dam, its topographical, ecological, economical and social (forced migration, breaking up of families) consequences. It consider as well the territorial reconfiguration and reconstruction after the rising of the water while the county is being pulled out from its ancient regional administration - Sichuan, and a part of the local population is being forced to leave the county for good. These themes are considered through a specific approach: the analyze of cultural artifacts such as the cults of gods (in particular Zhang Fei, a national hero locally deified), the use of toponyms, concepts, adages, myths, legends, geomancy, or retail of the past. In many ways those ways are interpreted and adapted by the Yunyang people and by its government to “narrate” the upheaval

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Este trabalho pesquisou os usos do Jornal Eletrônico Educação & Imagem, feitos para e por professores da rede pública. As práticas narradas e as imagens trazidas pelos docentes, que são usuários do jornal, nos possibilitou refletir sobre os currículos e os conhecimentos que têm sido tecidos cotidianamente. Para analisar as narrativas e as imagens presentes nos artigos escritos pelos professores foram pesquisados os editoriais redigidos por cada grupo de pesquisa, que faz parte da elaboração do periódico, e a seção Voz do leitor que publica artigos escritos por professores. Este estudo tem suas relações teóricoepistemológicas e teórico-metodológicas com as pesquisas nos/dos/com os cotidianos (Lefebvre, Certeau) que têm permitido compreender as redes de conhecimentos e significações que se dão nos múltiplos cotidianos em que vivemos, entendendoos como contextos educativos. Para falar sobre a importância da narrativa em pesquisa alguns autores como Walter Ong e Nilda Alves embasaram este estudo. Para o tratamento das noções de tecnologia, currículo e imagens dialogamos com os autores Nilda Alves, MartinBarbero, Boris Kossoy, Roberto Macedo, Alice Lopes, Elisabeth Macedo, Arlindo Machado, Pierre Lévy, Edméa Santos e Marco Silva. Dos artigos analisados observei que as imagens utilizadas pelos professores que escreveram para o jornal apresentaram uma multiplicidade de usos. A maioria fez uso de material fotográfico. Em seus artigos temos imagens usadas nos seguintes contextos: como registro de suas atividades com os alunos, como registro/memória autobiográfica, como reflexão da própria imagem apresentada ou como ilustração do texto dentre outros. Ao trabalhar com estas narrativas e imagens temos a oportunidade de discutir como se dá e como se tem desdobrado os usos do periódico eletrônico, possibilitandonos compreender e complexificar sobre outros processos cotidianos, a partir destes que nos é retratado e narrado. / This paper aims to research the uses of the electronic journal Education & Image, made for and by public school teachers. Practices narrated by the teachers who are daily users enable us to reflect on the curriculum and knowledge that have been daily woven. To analyze the narratives contained in articles written by teachers. I focused this work in the editorial written by each research group which is part of the preparation of the journal and in the Readers comments section. This study has its theoretical and epistemological relations and theoretical and methodological approaches to research in / of / with daily life (Lefebvre, Certeau) which have allowed us to understand the network of knowledge and senses that occur in many everyday situations we live in, understanding them as educational contexts. In this sense, we work with the idea that knowledge is woven, too, through the customs and practices that humans create in their daily lives in a different way than we have been taught, in Modernity, in science. Thus, I believe it is necessary and possible search relations practitioners (Certeau) with the many existing cultural artifacts. These will be studied through the uses to which these teachers develop in contact with the newspaper with the images and narratives it contains.