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Mémoire d'étude diplôme de conservateur des bibliothèques : Bibliothéconomie : Villeurbanne, ENSSIB : 2004.

Rapport de stage diplôme de conservateur des bibliothèques : Bibliothéconomie : Villeurbanne, ENSSIB : 2003. / Bibliogr. f. 58-62.

Mémoire d'étude diplôme de conservateur des bibliothèques : Bibliothéconomie : Villeurbanne, ENSSIB : 2003.

Mémoire de recherche diplôme de conservateur des bibliothèques : Bibliothéconomie : Villeurbanne, ENSSIB : 2006. / Texte intégral.

Thesis (D.L.S.)--Columbia University. / Bibliography: leaves 192-205.

The following work constitutes an inquiry into the economic, social and political composition of what are commonly known as the cultural or creative industries. My aim is to provide a critique of the discursive origins, political dimensions, economic models and subjective constructions that shape the complex set of practices and discourses that comprise the creative industries. To do so, this work looks into the production of a set of schemes, policies, plans, economic models, modes of labour, regulations and discourses that have been designed in order to transform cultural practices into economic activities. I will contextualize these transformations within a general framework of what has been branded ‘cognitive capitalism’, acknowledging that this process needs to be understood with reference to the neoliberalization of the wider economy through focusing on a set of changes in the nature of labour, value and creativity. I then attempt to understand the ecosystem in which the creative industries are enmeshed. In order to do so, I will discuss the notion of the cultural commons: the pools of collective ideas and knowledge from which these enterprises capture their raw material. Not only will this give an understanding of the nature of the sources of knowledge and ideas that feed the creative industries but will also to provide a good opportunity to understand the communities, objects and relations that shape them. Finally there is a discussion on the tensions, bifurcations and alternatives that escape the hegemonic economic models promoted by policy. This will open up possibilities in which to think of forms of self-organization and commons-based cultural enterprises that might provide new spaces in which the economy and culture can meet.

This thesis is an attempt to think through a number of questions arising from the intense circulation of Japanese brands in East Asia, which I call the East Asian Brandscape, and, in doing so, produces an innovative conceptual framework to understand brands and branding. The ubiquitous presence of American brands has been linked to Americanization, particularly Hollywood film’s global dominance, and is summarized in the phrase ‘trade follows the films’. Similarly, the East Asian brandscape has been linked to Japanization, an intense circulation of Japanese popular culture throughout the region, and may be summarized in the phrase ‘trade follows manga’. This Japanization discourse is based on the unsubstantiated assumption that the globalization of Japanese brands is closely linked to the presence (or the lack) of symbolic appeal of Japanese popular culture in a given market. This thesis investigates the largely understudied processes in which the globalization of Japanese brands is taking place in the context of Japanization through case studies on Japanese luxury cosmetics brands. In the first section, ‘analysis from outside’, the thesis draws out a contour of the East Asian brandscape, which is shaped by large multinational corporations such as L’Oréal, Shiseido, and Estee Lauder. In global capitalism, brands are routinely exchanged across national borders by these corporations in order to manage and thrive on local differences. Drawing on Appadurai, this thesis argues that we need to understand brandscape as the organization of otherwise disjunctive scapes, rather than in the image of the Americanization model. In the second section, ‘analysis from inside’, I explore the ways in which the branding is reformulated as the design and management of consumers’ experience in/through a great number of brand interfaces – material and immaterial – in which semantic and symbolic registers (such as Japan’s symbolic appeal) are engulfed in the overall affective ambience of brand experience. What is at stake in this reconfiguration, it is argued, is the unequal distribution of skills and finance resources across national borders required to global brand management, rather than distribution and consumption of national symbolic power. What emerge through the analysis of both outside and inside is a complex and contradictory relationship between Japanese brands and globalization that is no longer understood in a national framework.

This work addresses the problem of the production of hypermedia documentation for applications that require high reliability, particularly technical documentation in safety critical industries. One requirement of this application area is for the availability of a task-based organisation, which can guide and monitor such activities as maintenance and repair. In safety critical applications there must be some guarantee that such sequences are correctly presented. Conventional structuring and design methods for hypermedia systems do not allow such guarantees to be made. A formal design method that is based on a process algebra is proposed as a solution to this problem. Design methods of this kind need to be accessible to information designers. This is achieved by use of a technique already familiar to them: the storyboard. By development of a storyboard notation that is syntactically equivalent to a process algebra a bridge is made between information design and computer science, allowing formal analysis and refinement of the specification drafted by information designers. Process algebras produce imperative structures that do not map easily into the declarative formats used for some hypermedia systems, but can be translated into concurrent programs. This translation process, into a language developed by the author, called ClassiC, is illustrated and the properties that make ClassiC a suitable implementation target discussed. Other possible implementation targets are evaluated, and a comparative illustration given of translation into another likely target, Java.

Systematic quality work in preschool – How preschool teachers thinking and working with systematic quality work   The purpose of this study was to investigate how Swedish preschool teachers thinking and working with systematic quality work. All Swedish preschools are required to work systematically with quality. This involves several steps that follow each other in a specific order. It includes following up, documenting and evaluating preschool activities. The study is based on the theory of quality by Donabedian and Sheridan’s adaption of it for preschool. The sample consists of 6 preschools teachers’ interviews in a small town in the middle of Sweden. Individual and semi-structured interviews were used. The meaning given to systematic quality work in preschool is presented under three themes: system quality, process quality and result quality. The results reveal the positive thinking of Swedish preschool teachers’ about systematic quality work and the need for education in this area.