The project explores the contribution of digital platforms to Social Sharing, a term used for the nonreciprocal, social aspect of Sharing, in the context of a local neighbourhood. Sharing is considered a way to create more sustainable ways of living and empower community engagement in cities.  The project used participatory design processes to create a conceptual prototype of a Sharing Platform. The platform proposes a digital whiteboard as a communication tool among residents and a board of Sharing actions modules to trigger residents' imagination on what can be shared. The outcomes of the process also entailed connections among stakeholders and the potential of new sharing initiatives. The project provides insights into methods for designing feasible solutions for the future using playfulness. It discusses how trust and access are established through digital platforms. Finally, it argues for the role of the latter as facilitators for social exchange in place.

Hostile architecture is a medium through which social exclusion is enacted in the public and common areas of our cities. By limiting who is allowed to occupy space, and how they may do so, it functions to define the contours of inclusion in urban space-- all of which is predicated on one’s engagement with the zones of consumerism that have overtaken the cities’ commons. As a result, those without the means to partake are pushed aside, despite the inner-cities’ historical relationships with the poor, unhoused, and marginalized. The purpose of this study is to explore how lived experiences and knowledge of discriminatory architecture can inform a sociological analysis of hostile architecture. By exploring hostile architecture in Calgary, this thesis addresses a specific question: How do people with lived experience of homelessness understand hostile architecture? Through Community-Based Participatory Research and Photovoice, this question is addressed through collaboration with community members with lived experience of homelessness. Collectively, we conclude that those with lived experiences of homelessness understand hostile architecture in a multitude of ways. Amongst these understandings is the notion that hostile architecture not only excludes and displaces the unhoused and marginalized, but that it is also part and parcel of the wider range of hostilities against those experiencing homeless. One key theoretical concept grounds the research. Henri Lefebvre’s ‘Right to the City’ is used as a starting point in discussing what an equitable city might look like. I maintain that the lived experiences and knowledge held by those with experiences of homelessness can sensitize the public, and inform regional and national policymakers about this exclusionary mechanism. / Graduate

The diploma thesis deals with the memory of the Icelandic rock through a series of abstract paintings anchored in the aesthetics of process painting. The author paints the paintings on the basis of a synthesis of personal experience, a metaphorical conception of geological processes and drawing from a digital photographic master, and observes the relationship between the painter and his painting in the sense of building a painting as an entity with subjective needs. At the same time, the work examines the overlaps and possibilities of abstract painting to stimulate an imagination that changes the resulting meaning and content in relation to its creator or viewer.

In the last ten years there has been a resurgence of interest in teaching Shakespeare through performance. However, most literature on the topic continues to focus on the pragmatic selling points of how performance makes Shakespeare fun and understandable while remaining surprisingly silent on issues of theory and ethics. By investigating the ethical implications of performance pedagogy as it affects our students' construction of identity, empathy, and pluralistic tolerance we can better understand and discuss the potential of performance pedagogy in relation to the ethical goals of the Humanities. Performance Pedagogy has particular ethical potential due to the structure of performance and the effects of role-play on a student's identity. Lessons learned in the fictional world of a play can be transferred to real life allowing learning to take place in a world of more flexible rules and without real life consequences. Further, role-play also creates a unique blending of actor and character that encourages a compassionate rethinking of self and other. Although imperfect in its empathy, this emphasis on connection is still a moral alternative to the dehumanizing effects of seeing others in terms of complete alterity. Lastly, because performance encourages interpretation, it is a fruitful tool to encourage pluralism, a much-needed philosophy for our students today and one that in relation to Shakespeare can render particularly humanizing ends. Such a discussion of the ethical effects of performance pedagogy itself also focuses on principles of connection that ought to be applied to all scholarly endeavors in order to increase their meaning and morality.

Founded on the importance of the imagination according to Greene (1995) and set by the Executive Summary of the 911 Commission Report, the mixed methods grounded theory study looks at a correlation between a set of instruction practices recognized by Egan (2008) for nourishing and developing the imagination and low-progress adolescent students’ comprehension. Descriptive data are provided on the school, students, teachers, and district where the study was conducted to illustrate the limitation and delimitations of the study. The study is limited to low-progress adolescent students as identified by the Florida Comprehensive Assessment Test and uses pre and post Florida Assessments for Instruction in Reading (FAIR) mandated and administered by Orange County to establish comprehension and determine statistical significance. Participant and non-participant observations are used to triangulate and co-triangulate data to determine the correlation between the frequency of select instructional practices and students’ comprehending as evidence by their FAIR reading and Maze scores. Observation of student performance suggests that attention to the implementation of the instruction practices of using poetry, text sets, and sensory stimulation has potential in nurturing low progress adolescent students’ imagination and strengthening their cognitive feed-forward mechanism. The data adds to the existing body of work on the interactive nature of reading (Rumelhart, 1994) by elaborating on low progress adolescent students’ ability to predict and anticipate; concluding that convergent and divergent thinking, making inter-textual connections, and creating mental models are necessary sub-factors to nourish the imagination and need to be taken into account in instruction to assist low-progress adolescent students in comprehending and developing a defensible interpretation

While methods of creative play are still utilized occasionally in elementary education, by the time students reach college there are fewer opportunities for them to play in order to learn creatively in the classroom. Often, they are bored or uninspired by “traditional” composition instruction, where they read essays and then emulate their structure. Students can sometimes struggle to find ways to compose, both academically and creatively. I have seen in my classrooms the efficacy of giving students more flexibility and freedom in their ways of composing. This project proposes that play—the serious “work of childhood” (attributed to Piaget)—is just as essential in the college composition classroom. Giving students ways to access their imaginations, through visual and multimodal composition, making activities, metaphors, and other infusions of creative play pedagogy in the classroom and beyond—are not niche methods of instruction. Rather, I assert that play-learning helps form thirdspaces of play that I term playspaces. Specifically, in this dissertation I inquire through teacher/practitioner research to explore these questions: 1) What are some of the possibilities and limitations of play pedagogy for the composing processes of three first-year college composition students and their instructor? a. How are students using play pedagogy in the learning space? What functions might it serve or not serve? b. How am I implementing my play pedagogy in our classroom? What does play pedagogy mean for me as a teacher? c. How does play pedagogy inform the space and spatial understanding of the composition classroom? This qualitative study examines what happens when play pedagogy is employed in the college writing classroom, using arts-based research (ABR) including narrative inquiry as its main methods. The analysis for my dissertation uses what I’ve termed spatial thematic analysis in the form of longer narrative vignettes to attempt to reconstruct the spaces of play of each of the three students in the study as well as myself as teacher/researcher struggling with play and writing. These vignettes focus on Diana—a student who moved between accepting and rejecting the invitation across a semester paired with my own struggles during the pandemic to write and my use of collage to find a sense of play again, Lito—a student who accepted the invitation throughout the semester and the freedoms that emerged in his composing processes and meta-reflections, and Jenny—a student who digs deeper into one of those freedoms—the concept of deep play—as a potential affordance in the college writing space. From these longer vignettes, I have summarized in the findings the themes that emerged from the study: the invitation to play, the freedoms of play pedagogy including: to work across mediums and modes, to make mistakes and fail, to create and imagine, and to explore the self, including the opportunity to engage in deep play in their composing work, and the importance of spatial understandings of play pedagogy. This study seeks not just to define playspace as a third space of play-learning in the college writing classroom, but also to find the essential components of these spaces to generalize the structure for teachers hoping to use their own playful pedagogies in their classrooms. Keywords: composition, playspace, spaces of play, playful teaching, play pedagogy, pedagogy of play, creative play, play learning, thirdspace, third space, college literacy, visual literacy, multimodal learning

Art can be an elusive concept. Neither an outsider nor a professional artist is immune to abstractions in the attempt to describe it. Every individual must necessarily come from their own, unique perspective. The obstacles that we experience in defining the essence of art can be better understood if we see them as a gauge for our historical period. Given the limits of our contemporary conditions, it seems impossible that we may ever overcome the vast chasms that imprison us. We are discouraged to build bridges, at almost every turn, by the suggestive hopelessness of the abysmal distances between us. The series of work that I have developed for this thesis is a reflection on limitations. Whether we find them in the creative process or within the simple contemplations of our life experiences, thinking on our limits can lead us to a heightened cognition where we may find a lofty expression of human freedom. If art is to have a proper role in human culture, human individuals must begin to solve the problems of our limitations through the freedom that cognition affords us. We can begin by thinking imaginatively. Although difficult, it is quite possible to imagine reality. Beyond the mere production of beautiful objects, art is the very current that warms human beings to the reality that surrounds us. Artists can become involved by attempting to immerse their life in a new light of knowledge. With this sentiment, inspiration can begin offering us flight towards unreachable heights. The path that leads us, then, to an authentic concept of art will also take us into the world of another just as elusive: spirit.

The intent of this thesis is to examine and interpret the representation of the Holocaust in young adult literature. The tone, style, and emotion used to convey the Holocaust experience, both in fiction and nonfiction stories, in eyewitness and indirect accounts, affects its representation to a young adult audience. I will study the effects of sentimentality, realism, and fun and their impact on our understanding and remembrance of the Holocaust. I will analyze several texts, including Island on Bird Street, The Book Thief, and Night. The paradox of finding an appropriate balance between presenting a realistic portrayal of the Holocaust and understanding that we could never fathom the horrors of the Holocaust is one that plagues both writers and readers of this genre of literature and I plan to critique the ways in which different works discuss the subject. Ultimately, I will consider the conflict of how we negotiate between complete repression versus obsessive memorialization. What is the role of memory? What is the proper way to move on from the horrors of the past while still honoring the innocent people who lived and died? Through my analysis, I hope to attempt to answer these questions and, perhaps, provide suggestions for appropriate representation and memorialization.

Not too long ago we believed that it was impossible to send men outside our planets gravitational force, let alone send them to the moon. As adults, we live in a world that believes in two possibilities, those goals that are possible as long as they believe in themselves and find new ways to accomplish each goal they are given. Slowly this thought process is leaving the students minds to make room for the latest information for best practices in formal test taking. There has been a huge decline in our imaginative and creative thinkers due to this overwhelming need as a nation to "raise our test scores." I agree that our students need to obtain as much information as possible, but I believe in the impossible. I believe that there is a way to incorporate imaginative and creative thinking into our classrooms today to allow for students to build this idea that their impossible ideas can become possible. I want to challenge our students to be those who believe that it is not so impossible to land on the moon, as long as they can use their imagination, and creativity to solve their problems. To do this, I have used this thesis as a basis for 6 lesson plans based on 11 impossible children’s book. This is to provide teachers with resources that match the standards they are already using and create lifelong imaginers and creative thinkers who can turn the most impossible idea into a reality.

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