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Les produits d'ameublement domestique sont soumis à l'accélération de leur cycle de renouvellement. Ce phénomène n'est pas sans conséquences écologiques et sanitaires. Cette recherche analyse les pratiques de consommation de ces produits par les femmes, le genre le plus intéressé par l'aménagement et la décoration intérieure, dans le but d'étudier les facteurs qui sont à l'origine du désir de changement, notamment du sentiment de lassitude, les habitudes et les fréquences de renouvellement ainsi que leurs intentions en matière de préoccupation écologique. La mise en œuvre des méthodes de recherche et de traitement, issues pour l'essentiel des sciences humaines et sociales, met en lumière une catégorie de consommatrices qui résistent à la consommation des produits industrialisés et choisissent des pratiques de consommation citoyenne qui se basent essentiellement sur Je bricolage et le recyclage des produits usagés. Ces «créatifs culturels» sont à l'origine de l'émergence d'une culture éthique qui est en train de se confirmer et qui va sans doute modifier les valeurs de la société du futur. Les designers sont plus que jamais invités à se pencher de plus près sur ce nouveau profil de consommatrices dans l'idée de la production participative, du co-design. / Home furnishings are subject to an acceleration of their renewal cycle. This phenomenon has ecological and sanitary consequences. This research analyzes the consumption practices of these products by women, the gender that is most interested in interior design and decoration. It studies the factors that drive the desire for change, such as the feeling of weariness, the habits and frequencies of renewal, and women's concerns towards ecological issues. The implementation of research and treatment methods, ail coming from social sciences, highlights a category of consumers who resist to the consumption of industrialized products and choose consumption practices that are mainly based on DIY and recycling. These "cultural creatives" individuals are at the origin of the emergence of an ethical culture that is growing and that will undoubtedly modify the values that will shape the society of the future. The designers are more than ever invited to look more closely at this new profile of consumers in the idea of participative production : the co-design.

La synesthésie est une condition neurocognitive bénigne où les sujets porteurs de cette différence expérimentent des associations sensorielles de manière automatique, involontaire et idiosyncratique. Chez eux, les informations issues d’une modalité sensorielle telle que la vue, entraînent simultanément l’expression des modalités d’autres sens, tel que l’odorat. Cette particularité serait présente chez environ 4 % de la population mondiale (Hubbard, 2007). Il existe des dizaines de formes répertoriées (Day, 2011) et la teneur de leur expression varie d’un individu à l’autre (Simner, 2013). La synesthésie tactile-olfactive est présente chez 0,3 % des synesthètes (Day, 2011). Elle entraîne des perceptions olfactives selon les textures et autres sensations tactiles. La synesthésie a plusieurs impacts sur le quotidien des synesthètes, car elle affecte notamment leur façon de percevoir et de ressentir leur environnement. Puisqu’il s’agit d’une forme de développement neurocognitif alternatif (Ward, 2019), il peut être considéré comme un type de neurodiversité à part entière. Les expériences synesthésiques sont difficilement exprimables par le langage, ce qui peut provoquer un sentiment d’exclusion (Nielsen et al., 2013). Une des façons de favoriser l’inclusion est l’empathie (Masten, Morelli et Eisenberg, 2011), qui peut être suscitée grâce à des œuvres et des expositions artistiques qui impliquent l’engagement physique des spectateurs (Raboisson, 2014). Nous avons donc tenté de créer une expérience artistique permettant aux participants d’expérimenter avec leur corps les effets de la synesthésie tactile-olfactive. Cependant, il n’existait pas de média capable de réaliser la médiation de ce phénomène sensoriel. Nous nous sommes donc attelées à la conception et à la réalisation d’un tel artefact. En appliquant la méthodologie de la recherche-création, et en particulier les principes du mouvement DIY du « faire », nous avons créé un prototype de machine simulant les effets de la synesthésie tactile-olfactive. Toutefois, cette entreprise de création d’un dispositif de médiation technologique s’est révélée ardue et notre création finale ne ressemble pas exactement au prototype que nous espérions produire. Nous sommes allées aussi loin que nos compétences techniques nous le permettaient pour livrer un objet qui nécessiterait des améliorations futures. Le présent mémoire présente le cadre conceptuel et théorique ainsi que le processus de création dudit artefact. Grâce aux enseignements tirés de l’analyse de notre pratique, nous concluons qu’il existe plusieurs enjeux sociaux et techniques dans la pratique du « faire » en tant que méthode de création d’artefacts technologiques. Nous discutons finalement le rôle qu’un tel projet de recherche-création peut jouer dans la sensibilisation du public vis-à-vis des phénomènes neurocognitifs que sont la synesthésie et la neurodiversité. / Synesthesia is a benign neurological condition in which subjects experience an automatic, involuntary and idiosyncratic cross-activation of the senses. For them, the information from one sensory modality (e.g. sight) triggers a response from another sensory modality (e.g. smell). This condition is estimated to be present in at least 4% of the population (Hubbard, 2007). Dozens of forms of synesthesia exist, and their expression varies from one individual to the next (Simner, 2013). Smell-touch synesthesia affects around 0.3% of the synesthete population (Day, 2011). It induces olfactory perceptions according to textures and other tactile sensations. Synesthesia impacts the day-to-day lives of synesthetes, as it affects the way they perceive and feel their environment. Since it is a form of divergent neurocognitive development (Ward, 2019), it can be considered a form of neurodiversity. Like any form of neurodiversity, its manifestations are difficult to express with language. This can lead to feelings of exclusion (Day, 2005; Nielsen et al., 2013). One way to promote inclusion is through empathy (Masten, Morelli, & Eisenberg, 2011), which can be facilitated through physically engaging artworks and exhibitions (Raboisson, 2014). Our goal was to create an artistic experience that allows participants to physically experience the reality of touch-smell synesthesia. However, as there was no media able to mediate this sensory phenomenon, we tried to understand how to design and build one. By applying a research-creation methodology, and in particular the principles of the DIY “maker movement,” we intended to create a prototype capable of simulating the effects of touch-smell synesthesia. However, this process of creating a device for the technological mediation of the senses proved to be a difficult one, and our final prototype is not exactly what we hoped to produce. We went as far as our technical skills allowed us to and we delivered an object that would require some future improvements. This present Master’s thesis presents the conceptual and theoretical frameworks as well as the process of creating this artefact. Based on the lessons learned from our practice analysis, we conclude that there are several social and technical issues that need to be addressed in the “maker” practice as a method for creating technological artifacts. Finally, we discuss the role that such a research-creation project can play in raising public awareness of synesthesia and neurodiversity.

I create to heal wounds – personal, emotional and social. I create to break the patriarchy  and normative systems that excludes people of different genders, sexualities, colours and bodies. I make human wear – fashion for bodies of all sizes and genders. I want people to be comfortable with themselves and their bodies and that is the goal with my brand EKLUND EKLUND.  The fashion world today consists of “his and hers”, size zero, “wear and tear” and sexist ads, all of which maintains heteronormativity and sick beauty ideals. Clothes are made for “women” and “men” in size XS-XL, leaving everyone outside of those norms excluded.  I will research the gender - and beauty norms in western media and fashion and how it affects people and their self esteem. How can I make fashion inclusive and socially sustainable? Can I make clothes that fits all?  I’m gonna make a One Size Queer Couture Collection to include different expressions and bodies to change the norms of gender and size. One Size that adjusts to different shapes and sizes, Queer as in genderless for everyone and Couture as in hand-made fashion.  I will achieve this through experimental pattern making, non-normative design and a presentation of the clothes with and for people confronting norms of gender, sexualities, beauty and colour.

A partir d’une ethnographie réalisée à bord de quatre navires différents, la thèse invite à une réflexion sur la notion de fluidité commerciale entendue comme recherche permanente de la continuité et de la circulation des marchandises. Se détachant d’une analyse globale du flux, la thèse s’intéresse à la manière dont celui-ci se construit, se négocie, se refuse au cœur de l’activité des marins embarqués. Parce que la genèse de cette fluidité trouve ses origines sur terre, la première partie offre un éclairage sur les multiples acteurs gravitant autour du navire : Etats, armateurs, affréteurs, intermédiaires, et organisations de contrôle, constituent le « macro-système-technique » du fret maritime qui alimentent, affrètent, assistent et contrôlent le navire. La deuxième partie montre comment la prédominance de cette logique de fluidité s’est traduite par la mise en place d’un marché du travail international, dont l’objectif est d’avoir à disposition un facteur travail libre, pouvant suivre les fluctuations des navires. Source d’instabilités nouvelles, cette ouverture des marchés nationaux du travail appelle toutefois à de nouvelles régulations. Enfin, la troisième partie montre que, du fait de collectifs de travail éclatés, des risques du navire, et de l’impératif de continuité, l’activité des marins de commerce se caractérise par de multiples formes d’arrangements et de bricolages. Isolé et replié sur son huis-clos le navire apparaît comme une entité prise au cœur d’un réseau complexe, faisant intervenir de multiples acteurs. Dans ce réseau, la continuité s’obtient au prix de négociation et de compromis fragiles. Elle se nourrit d’un contrôle rapproché du navire et de l’activité des marins, qui ne remet cependant pas en cause l’isolement du bateau puisque, sur bien des aspects, cet isolement est une condition centrale de cette fluidité. / Based on an ethnography realised aboard four different ships, the dissertation encourages reflexion over the notion of commercial fluidity, understood as the the ongoing search of consistency and the movement of goods. Instead of working on an overall analysis of the flow, the dissertation focuses on the way this flow is built, negotiated and is denied within the work of the seamen. As this concept of fluidity was originally conceived on land, the first part of the dissertation provides insights into the numerous players revolving around the ship and its activity: States, shipowners, charterers, intermediaries and monitoring organisations form the « technical macro-system » of the maritime freight by supplying, chartering, assisting and monitoring the ship. The second part demonstrates how the prevalence of this system of fluidity resulted in the development of a global labour market aimed at having an free labour factor that is able to adapt to the fluctuations of the ship. Leading to new instabilities, the opening-up of national labour markets requires on the other hand the introduction of new regulations. Last but not least, the third part demonstrates that, as a result of the fragmentation of labour collectives, the risks associated with vessel navigation as well as the necessity of maintaining consistency, the activity of merchant seafarers is characterised by many types of arrangements and deals. Isolated and folded on itself, the ship appears as an entity involving many actors and located at the heart of a large and complex network. Within this network, consistency is obtained through negotiation and delicate compromise. This consistency is driven by a close monitoring of the ship and the seafarers activity, which does not undermine the isolation of the ship however since this isolation is a condition to fluidity.

This thesis describes and analyses the politics of the Australian DIY anarcha-punk scene and the ethos of the culture's participants. Eschewing the orthodox sub-cultural approach which situates 'punk' within a structuralist hegemony / resistance paradigm, the thesis uses participant observation and textual analysis techniques to understand the role played by zines (hand made publications) in fostering the intellectual and ethical capacities needed to participate in the Australian DIY anarcha-punk scene. The zines, in their deviation from classical anarchism, often invoke concepts of power and 'the political' analogous with those of poststructuralist theory, yet DIY anarchist politics also diverge from poststructuralism. I therefore address DIY anarchist politics by questioning the significance of these inconsistencies with Theory. In doing so I am led to suggest that the zines may be more usefully approached as elements in the ethico-political practice of DIY anarchism, which nonetheless draws on the 'conceptual vocabulary' of much poststructuralism, as well as other theoretical approaches. Thus I re-describe DIY anarchism as an ethos which seeks to argue for its agendas and values on non-foundational terms. Further, I demonstrate that by pursuing an ethos of 'autonomy', the culture's participants seek to develop their intellectual and ethical capacities through a self-consciously 'developmental' engagement of power relationships, in the form of DIY 'prefiguration' or exemplification. Following the preoccupation with gender politics in the zines and the wider scenes, I describe the approach to gender politics in similarly ethico-political terms, drawing likewise on various elements of poststructuralist and other theories. I show this feminist ethical practice to be based on assumptions about gender which embody a certain poststructuralist approach to 'gender', one that is predicated on the material effects of a discursively congealed gender structure, but forms part of an ethos aiming to deconstruct this structure. By re-describing the political approaches of these zines in reference to various theoretical perspectives and ethico-political practices, I am able to offer perspectives to the culture in question, as well as to the interdisciplinary academic context within which I am writing.

This thesis examines the evolution of feminist praxis within the riot grrrl movement, focusing on two specific riot grrrl demographics - founding riot grrrls in the early 1990s and currently active riot grrrls in southern California. This thesis argues that riot grrrl activism is still thriving but in diverse, strategically modified ways. Using José Muñoz’s concept of “disidentification,” it analyzes how contemporary riot grrrls have appropriated and adapted the original movement’s tenets to allow for greater accessibility and diversity.

The state of STEM education in America's high schools is currently in flux, with billions annually being poured into the NSF to increase national STEM literacy. Hands-on project-based learning interventions in the STEM classroom are ubiquitous but tend to focus on robotics or competition based curriculums. These curricula do not address musical creativity or cultural relevancy to reach under-represented or disinterested groups. By utilizing an analog synthesizer for STEM learning standards this research aims to engage students that may otherwise lack confidence in the field. By incorporating the Maker Movement, a STEAM architecture, and culturally relevant musical examples, this study’s goal to build both self-efficacy and literacy in STEM within under-represented groups through hands-on exercises with a Moog analog synthesizer, specifically the Moog Werkstatt. A quasi-experimental one-group pre-test/post-test design was crafted to determine study validity, and has been implemented in three separate studies. Several age demographics were selected across a variety of classroom models and teaching style. The purpose of this wide net was to explore where a tool like the Werkstatt and its accompanying curriculum would have the biggest impact. Results show that this curriculum and technique are largely ineffective in an inverted Music elective classroom. However, in the STEM classroom, literacy and confidence were built across genders, with females showing greater increases in engineering confidence and music technology interest than their male counterparts.

The primary argument in favor of mass customization is the delivery of superior customer value. Using willingness-to-pay (WTP) measurements, Franke & Piller (2004) have recently shown that customers designing their own watches with design toolkits are willing to pay premiums of more than 100% (DWTP). In the course of three studies, we found that this type of value increment is not a singular occurrence but might rather be a general phenomenon, as we again found average DWTPs of more than 100% among customers designing their own cell phone covers, T-shirts, and scarves. Building on this, we discuss the sources of benefits that are likely to explain this tremendous value increment. We argue that compared to conventional standard products, a mass-customized product might render the following utilitarian and hedonic benefits: (1) First, the output might be beneficial as self-designed products offer a much closer fit between individual needs and product characteristics. In addition to this mere functional benefit, extra value might also stem from (2) the perceived uniqueness of the self-designed product. As the customer takes on the role of an active codesigner, there may also be two general 'do-it-yourself effects': (3) First, the process of designing per se is likely to allow the customer to meet hedonic or experiential needs (process benefit). (4) Customers may also be likely to value the output of self-design more highly if they take pride in having created something on their own (instead of traditionally buying something created by somebody else). This is referred to as the 'pride of authorship' effect. (author's abstract)

DIY- “Do it Yourself” är en ny trend som går ifrån konsumtionssamhället för att istället värna om det genuina hantverket. Få studier har presenterat hur en visuell varumärkesidentitet bör utformas för att förtydliga dessa typer av verksamheter. Rapporten syftar till att undersöka hur en logotyp kan utformas för ett Hantverksföretag utifrån verksamhetens kärnvärden, för att skapa önskvärda associationer och därmed stärka varumärkets identitet. Under studien har arbetet genomförts utifrån ett “case-företag” vid namn Hantverksgården. Genom företagets kärnvärden, genuint, lantligt och idylliskt har rapporten undersökt hur en logotyp bör utformas för att reflektera verksamheten. Genom att identifiera verksamheten och söka inspiration utifrån kärnvärdena togs två logotyper fram. För att besvara syftet värderades vardera logotyp med åtta respondenter. Logotyperna undersöktes utifrån sex kriterier minnesvärd, meningsfull, älskvärd, originalitet, skalbarhet/mångsidighet/överförbarhet och utförande. Studiens visade genom att framhäva verksamhetens ursprung skapades associationer till begreppet genuint. Kärnvärdet lantligt reflekterades genom avbildade objekt kopplade till verksamheten. Genom dekorativa illustrationer kunde logotypen uppfattas som idyllisk. Kriterierna älskvärd och meningsfull visades vara de viktigaste kriterierna för att uppfylla önskvärda associationer.