Esse estudo teve por objetivo compreender os processos de aprendizagem a partir das práticas de produção teatral dos espetáculos teatrais de uma organização não governamental à luz da perspectiva cultural. Desenvolveu-se uma pesquisa de natureza qualitativa, utilizando as técnicas de entrevista em profundidade com roteiro semiestruturado, entrevistas semiestruturadas, entrevistas informais, observação participante, grupo focal e pesquisa documental para coleta de dados. A observação participante envolveu 13 meses de pesquisa de campo, com suporte de anotações em diário de campo, fotografias, vídeos e registros sonoros. Os registros foram decorrentes de momentos formais e informais, quando realizou-se as distintas entrevistas, grupos focais, acompanhamento de ensaios, apresentações dos espetáculos, reuniões, festas e gravações de videotapes, com coleta de dados espontâneas realizadas com profissionais dos elencos do Projeto Vida Urgente no Palco da Fundação Thiago de Moraes Gonzaga. Também foram pesquisados documentos, tais como: folders, flyers, banners, propagandas, material didático, vídeos, manual de descrição de cargos, organogramas, organização de itinerários de apresentações, fichas de avaliação das escolas etc. Para realizar o tratamento e a interpretação dos dados coletados, utilizou-se a análise interpretativista. Entre os principais resultados encontrados tem-se: sob a ótica dos membros do Projeto Vida Urgente no Palco, pôde-se compreender que esses entendem a produção teatral de forma difusa e associada, predominantemente, ao trabalho do produtor teatral. Além disso, percebe-se uma confusão entre os termos produção teatral, produção cultural e produção artística. Sobre as práticas de produção teatral, foi possível identificar que nessa organização ela ocorre em três fases distintas: a pré-produção, a produção e a execução. Os profissionais envolvidos nessas etapas variam de ano para ano, no entanto, as tarefas costumam ser divididas e realizadas coletivamente. Todos entendem como elementos que identificam e diferenciam o trabalho do Projeto Vida Urgente no Palco: a preocupação em passar a mensagem, a maneira tradicional de pensar uma montagem de teatro, ou seja, vinculada ao texto; não haver muito espaço para criação de personagem; ser um processo coletivo e colaborativo. Percebeu-se que suas práticas eram permeadas de momentos de humor, descontração, colaboração, interações e compartilhamento de conhecimento tácito. As práticas de produção teatral também permitiram visualizar momentos de justaposição de ordem e desordem – preservação e inovação ocorrendo simultaneamente – principalmente em função da escolha do campo de estudo (Fundação Thiago de Moraes Gonzaga), que atua há mais de 10 anos por meio do teatro. Em função desta organização trabalhar há bastante tempo com espetáculos, houve a possibilidade de encontrar uma cultura e um know-how próprios, que a diferencia das demais, e, por isso, encontrou-se várias linguagens comuns como ações rotineiras e artefatos materiais compartilhados que permitiram examinar a fecunda tensão entre aprender e organizar. Em relação à aprendizagem dos membros do Projeto Vida Urgente no Palco, pôde-se encontrar como principais processos a aprendizagem na prática, aprendizagem de um ofício, embora também tenham apontado outros processos de aprendizagem que possibilitaram desenvolver o conhecimento sobre seu trabalho, tais como: aprender com experts, aprender observando, aprender pela troca, aprender em cursos, aprender sozinho, aprender com os próprios erros, aprender pela reflexão e aprender resolvendo problemas. Dentre os principais momentos e facilitadores de aprendizagem, destaca-se a justaposição de ordem e desordem pela prática do humor e da improvisação, manutenção versus inovação. / This study aimed to understand the learning processes from the practices of theatrical stage production of a non-governmental organization in light of the cultural perspective. A qualitative research was developed using techniques of in-depth interviews with semi-structured script, interviews with semi-structured script, informal interviews, participant observation, focus groups and documentary research for data collection. Participant observation involved 13 months of field research, with support of daily field notes, photographs, videos and sound recordings. The records were a result of formal and informal moments, when different interviews, focus groups, rehearsals, performances of the plays, meetings, parties and recordings of videotapes were carried out, with spontaneous data collection by professionals of the team of the project Vida Urgente on the Stage of the Thiago de Moraes Gonzaga Foundation. Were also analyzed documents such as: folders, fliers, banners, advertisements, teaching material, videos, manual of job descriptions, organization charts, organization and schedule of performances, evaluation reports of the schools, etc. Interpretative analysis was used to conduct the processing and interpretation of the data collected. Among the main results we have: from the perspective of members of the Project Vida Urgente on Stage, we understood that they see theater production in a diffuse and associated manner, predominantly, related to the work of theatrical producer. Furthermore, we perceived confusion between the terms theatrical production, cultural production and artistic production. On the practices of theatrical production, it was possible to identify that in this organization it occurs in three distinct phases: pre-production, production and performance. The professionals involved in these phases vary from year to year, however, the tasks are usually divided and accomplished collectively. Everyone understands as elements that identify and distinguish the work of the project Vida Urgente on the Stage: the concern in getting the message out, the traditional way of thinking a theatrical set-up, i.e., connected to the text; the lack of room for character creation; that it is a collective and collaborative process. It was noticed that their practices were permeated by moments of humor, fun, collaboration, interaction and sharing of tacit knowledge. The practices of theatrical production also allowed us to visualize moments of juxtaposition of order and disorder - preservation and innovation occurring simultaneously - mainly due to the choice of the field of study (Thiago de Moraes Gonzaga Foundation), which has operated for over 10 years through theater plays. Since this organization works for a long time with performances, it was possible to find a singular culture and know-how, which differentiates it from others, and therefore we found several common languages as shared routine actions and material artifacts that allowed us to examine the fruitful tension between learning and organizing. Regarding the learning process of members of the project Vida Urgente on Stage, we could find as the main one learning in practice, learning a profession, but they also have pointed other learning processes that enabled the development of knowledge about their work, such as: learning from experts, learning by watching, learning by exchanging, learning in courses, teaching yourself, learning from their own mistakes, learning through reflection and learning by solving problems. Among the key moments and facilitators of learning, we highlight the juxtaposition of order and disorder through the practice of humor and improvisation, maintenance versus innovation.

Submitted by Rosangela Silva (rosangela.silva3@unioeste.br) on 2018-05-10T17:21:23Z No. of bitstreams: 2 Jaqueline Zdebski Da Silva Cruz.pdf: 1188135 bytes, checksum: bd5a78ce47f0307f62d98595feaf3493 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-10T17:21:23Z (GMT). No. of bitstreams: 2 Jaqueline Zdebski Da Silva Cruz.pdf: 1188135 bytes, checksum: bd5a78ce47f0307f62d98595feaf3493 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2013-07-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This essay describes a research envolving the Mathematics teachers working on nine State Country Schools on Cascavel Municipality, aiming to analise the articulation between the mathematical school knowledge and everyday mathematical knowledge. It takes as reference the Country Education Directive, document which presents the curricular procedures to Paraná State, and defends the necessity of specific pedagogic practices to this educational modality. This work aims to understand if it occurs, as it occurs and which the teachers intend when they do this articulation between different knowledge. It intends also identify if the initiative of articulating those distinctive knowledge are related to elements as: how long teachers are teaching in Country Schools, knowledge of pupil reality, knowledge of the school identity expressed on its Pedagogic Political Project and knowledge of Country Education Directives. The necessity of to answering those questions gave a methodological direction to the process of data collected, which occurred by semistructured interviews during the first semester of 2012, envolving all the 19 State School Country Math teachers in Cascavel Municipality. Data were analyzed by Content Analysis proposed by Bardin, and it was concluded that only the school extra knowledge about the pupil’s reality was relevant to articulate math and everyday context, as all teachers who know this reality do this articulation by any way and all teachers that do not do this articulation do not know such reality. Besides, data showed this articulation in 69% of the situations, but envolving different contextualization concepts. / Esta dissertação buscou uma aproximação dos docentes de matemática das nove Escolas Estaduais do Campo do Município de Cascavel - Pr com o objetivo de compreender como acontece no ensino da Matemática a articulação entre o conhecimento matemático escolar e o conhecimento matemático do cotidiano do aluno. Toma como referência as Diretrizes da Educação do Campo, documento orientador do currículo para a Educação do Campo em todo o Paraná e que defende a necessidade de práticas pedagógicas específicas para esta modalidade educacional. Este trabalho objetivou compreender se ocorre, como se desenvolve e quais os objetivos dos docentes ao realizarem essa articulação entre conhecimentos matemáticos distintos. Buscou ainda identificar se a iniciativa de articular esses diferentes conhecimentos possui alguma relação com os seguintes elementos: tempo de magistério em escolas do campo, conhecimento da realidade discente, conhecimento da identidade da escola expressa no seu Projeto Político Pedagógico e conhecimento das Diretrizes da Educação do Campo. A necessidade de responder a estas questões direcionou metodologicamente a coleta dos dados para a realização de entrevistas individuais semiestruturadas que ocorreram no primeiro semestre de 2012, envolvendo todos os dezenove professores de Matemática das Escolas Estaduais do Campo do município de Cascavel. Os dados foram analisados utilizando a Análise de Conteúdo proposta por Bardin e concluiu-se que apenas o conhecimento da realidade extraescolar discente exerce influência na prática docente de articular matemática e o contexto do cotidiano, uma vez que todos que o conhecem articulam-no de alguma forma ao ensino da matemática enquanto que todos os que não articulam o desconhecem. Identificou-se, ainda, que a articulação ocorre em cerca de 69% dos casos, porém funda-se em diferentes concepções de contextualização.

This licentiate thesis is based on visual art didactics and the school subject visual art, but focuses on the design process in a college design education. The aim is to explore and understand the innovative and exploratory learning processes and the importance of visual mediation in this context. With a phenomenological approach the study focuses on design students experiences in this context. These experiences are made subject on reflection and formulation, through phenomenology and visual semiotics. The empirical materal of the study consists of interviews and sketches and images collected from student workbooks. The results of the study show that the design process does not occur by itself among the students. It must be learned. The need for learning probably also applies to the processes of creative learning in other fields. Furthermore, the results indicate that the process is best understood and appropriated in pragmatic learning situations. Three kinds of visual representations of the basic aims of process work are identified in the analysis: images for communicative purposes, images for reference and discussion purposes and images as a support for one's own thinking. From the perspective of visual art dididactics the results of the study reveals four important dimensions, wich may be of relevance as a fundamental didactic structure in efforts to promote understanding of a practice-oriented learning in context of visual mediations. Together with a split vision guiding principles, existing premises and action-based learning processes may provide a supporting unit in this structure. Based on the results, it seems important that pupils and students have the opportunity to learn to master and appropriate the creative process in order to use it in an investigative purpose. Considering the structure of the process, a didactic model can facilitate learning and at the same time provide a valuable complement to the subjective approach of inspiration in the aestetic learning process. In summary, the results of the study indicate that the fields of design and didactics are related to each other and that the field of design training can bring knowledge and experience of exploration and creative learning processes to the school subject visual art.

This work focuses on collaborative learning and how it canbe applied and supported in distance education. Previous workindi-cates that distance learners experience more loneliness,technical problems and lack of stimulation than face-to-facelearners do. Collaboration with peers may improve the feelingof connectedness and engagement. However, collaborativelearning is not the answer to all problems in distanceeducation--and it creates new problems. The present workexplores problems, opportunities and processes whencollaborative learning is introduced in distance education--andsuggests solutions. Related research on distance education andcomputer-supported collaborative learning is reviewed andrelated to own research. The different roles of information andcommunication technology in these areas are described. Six own research papers are reviewed and integrated. Threeof them explore university courses on computer use in society.Learners interacted mainly through a forum system, i.e. asystem for text-based, asynchronous electronic conferences anddiscussions. The special character offorum communication hadan impact on communication and collaboration processes. Onepaper summarizes these results and deduces a first list of tipsto teachers and systems designers, aiming to reduce problemsand take advantage of collabo-rative-learningopportunities. One paper, a report to the Swedish School Board, provides anoverview of research on distance education, withrecommendations for use in secondary schools. To get a broader picture of distance-education learners andtheir special situation and interests, a study was conducted inAustralia. Most of the learners were secondary-school students,living far away from towns. Communication was normallyrestricted to mail, radio and telephone. Opportunities forcollaboration between peers were rare, and correspondencetraditions and the lack of technological infrastructure weredelaying changes. However, a development towards morecollaborative learning had started. Empirical data were gathered ethnographically in naturalcourse settings. Results were analysed using 'activity theory'as a framework. The main contribution of this work is a description of howthree groups of learning processes develop and interact: (a) ofcontent, (b) of communication, and (c) of collaboration. Theyform the spiralling model of a"Triple Helix". Finally, detailed advice is given aschecklists to organisations, teachers, learners and systemdesigners. Keywords:Distance education, Collaborative learning,Computer-supported collaborative learning, Information andcommuni-cation technology, ICT, Forum system, Learningprocesses. / <p>NR 20140805</p>

Few studies have focused on how learning takes place in physical education and health (PEH) practices, and even more so in relation to artifact use. Dance is a core content in the Swedish curriculum, but according to previous research it nevertheless rarely occurs in practice due to many teachers’ lack of knowledge. Movement qualities are something that students are supposed to develop in the subject, where dance can be used as a form of activity. The aim of the licentiate thesis is to examine students’ use and development of different movement qualities in a learning process where dance exergames are used as teaching aids in the PEH practice in upper secondary school. The research questions in the study are: (1) what kind of movement qualities do students use when they interact with each other and with dance exergames, and (2) how does the learning of movement qualities occur when dance exergames are used as teaching aids? A series of seven PEH-lessons were designed. Four of the lesson had a spe-cific purpose, such as working with rhythm and coordination where the exergames Nintendo Wii Just Dance 3 and 4 were used as teaching aids. In two other lessons the students worked in groups to create their own dances, and as a final goal, at lesson seven, the groups presented their dances. All the lessons were video recorded. A framework inspired by Laban’s movement analysis was used to analyze the students’ movement qualities, based on four aspects: body, space, effort and relationship. To be able to analyze the students, the dance exergames and the context as a whole, the study involved a socio-cultural ap-proach to learning. Learning situations in the ongoing practice were also ana-lyzed, where learning was investigated as something that occurs through inter-actions between students and between students and artifacts. The results show a way to describe students’ movement qualities, which con-tribute to PEH-teachers language of knowledge in movement. The results also demonstrate that learning occurred through imitation, repetition, communica-tion, negotiation, practice, modeling, instruction and using metaphors. A con-clusion is that students’ use and development of movement qualities do not depend on the use of the dance exergames per se, instead it depends on how the dance exergames are used in PEH practice. / Forskningslinjen Utbildning

Enligt läroplanen ska elever få möjlighet att lära sig genom estetiska uttrycksformer (Skolverket, 2018, s.10). Syftet med denna studie är att bidra med kunskap om lågstadielärares uppfattningar av estetiska lärprocesser i relation till ämnet svenska. För att besvara studien har följande två frågeställningar formulerats: Vad uppfattar lärare att estetiska lärprocesser innebär i svenskundervisning? Hur uppfattar lärare att estetiska lärprocesser används i svenskundervisning?   Datainsamlingen genomfördes genom semistrukturerade intervjuer med fyra lärare. Studien baseras på fenomenografisk ansats och utifrån analys framträdde fyra beskrivningskategorier: estetiska lärprocesser som delaktighetsstödjande, estetiska lärprocesser som inlärningsstöd, estetiska lärprocesser som komplement i undervisning och estetiska lärprocesser som svåra att genomföra. Resultatet visar att estetiska lärprocesser kan vara ett redskap för att elever ska nå mål i ämnet svenska. Samtidigt visar resultatet att lärare har behov av kompetensutveckling för att estetiska lärprocesser kunna ska planeras och genomföras i svenskundervisningen. Slutsatsen är att studien har bidragit med en bild av vad lärare uppfattar att estetiska lärprocesser är och hur de utifrån sin uppfattning valt att praktisera estetiska lärprocesser i sin svenskundervisning. / The curriculum states that students should have the opportunity to learn through aesthetic expressions (Skolverket, 2018, s.10). The aim of this study is to contribute with knowledge about primary teachers’ pedagogical perceptions of the aesthetic learning processes related to the subject of Swedish language. This study attends to two research questions: What do teachers perceive that aesthetic learning processes are in the teaching of Swedish language? How do teachers perceive that they use aesthetic learning processes when teaching the Swedish language? The collection of data was accomplished through semi-structured interviews with four primary teachers. The study has been inspired by the phenomenography. The result of the study is divided into four categories: aesthetic learning processes as participation support, aesthetic learning processes as learning support, aesthetic learning processes as a complementary part in teaching and aesthetic learning processes as difficult to implement. The results show that aesthetic learning processes may help pupils attain the intended learning outcomes of the subject Swedish. At the same time, the results show that the teachers need competence development in order to be able to plan and support aesthetic learning processes when teaching Swedish. The conclusion is that this study has contributed with an idea of what teachers perceive that aesthetic learning processes are and how they, against this background, choose to practice it in their own teaching in the Swedish subject.

Arbeitsschutz erzielt dann seine größte Wirksamkeit, wenn er bereits im Rahmen der Konzeption und Planung von Maschinen vollumfänglich berücksichtigt wird. Etwaige Versäumnisse hinsichtlich einer sicheren Produktgestaltung in diesem Stadium können unzureichend sichere Produkte und kostenintensive Nacharbeiten zur Folge haben (Klein, 2013). Deshalb benötigen künftige Maschinenbauer und Produktdesigner für ihre spätere berufliche Praxis Fachwissen zur proaktiven sicheren und gesundheitsgerechten Gestaltung von Maschinen. Die voranschreitende digitale Transformation führt jedoch in Wechselwirkung mit weiteren Faktoren dazu, dass sich derartiges Wissen heutzutage ständig entwickelt und erweitert (Korunka & Kubicek, 2013). Fachkräfte sind entsprechend gefordert, ihr Fachwissen im Rahmen ihrer Arbeitsprozesse fortlaufend zu aktualisieren. Dabei wird der Betrieb mehr denn je zum Lernort und setzt zunehmend technologieunterstützte Lernformen ein, die Mitarbeitenden einen selbstgesteuerten Wissenserwerb nach individuellem Bedarf ermöglichen sollen (BMAS, 2017). Selbstgesteuerte Lernprozesse setzen jedoch spezifische Kompetenzen voraus, die zunächst entwickelt und gefördert werden müssen. Zu diesem Zwecke entwickeln die Autoren derzeit ein Lehrkonzept, das es angehenden Produktgestaltenden ermöglichen soll, bereits im Rahmen der universitären Ausbildung sicherheitstechnisches Fachwissen zu erwerben und dabei auch in der heutigen Informationsgesellschaft essentielle Erfahrungen mit selbstgesteuertem Lernen zu sammeln.

Tv-spel är något som en signifikant andel av populationen ägnar mycket tid åt. Idag är inte tv- spel enbart något som personer har som fritidssyssla, utan kan även spelas professionellt. Vissa aspekter av tv-spel har det forskats kring, men det tycks finnas en del outforskade områden. Syftet var att beskriva och diskutera interaktionsritualer i förhållande till ”video game literacy”, genom att undersöka hur individer beskriver att de har lärt sig att spela tv-spel samt genom att diskutera kring hur spelandet kan förstås som en social interaktionsritual. Metoden har varit av kvalitativ karaktär, med semi-strukturerade intervjuer som metod för empiriinsamling. Resultatet från studien visade att spelandet av tv-spel tillsammans med andra individer kan förstås som interaktionsritualer, om de innehåller vissa element. Vidare visade studien att individer kan utveckla sina kunskaper kring tv-spel genom att delta i denna typ av interaktioner, men även att det är möjligt för individer att utveckla sina kunskaper enskilt. / Video games are something a significant portion of the population spend a lot of time playing. Today, video games aren’t something people solely play in their spare time, but also something played professionally. Some aspects of video games have been researched, however a few unexplored areas still appear to exist. The aim of this study was to describe and discuss interaction rituals in relation to “video game literacy” through examining how individuals describe how they’ve learned to play video games, as well as through discussing how playing video games can be considered an interaction ritual. This essay has utilized a qualitative approach with semi-structured interviews as the method for gathering empirical data. The results from this study suggest that the playing of video games together can be considered a form of interaction ritual, if the interaction contains certain elements. Furthermore, the study showed that it is possible for individuals to develop their understanding of video games through participating in these types of interactions, however it is also possible for individuals to increase their knowledge individually.

Estetiska uttrycksformer, däribland drama, ska enligt läroplanen ha en plats i skolans verksamhet. Samtidigt läggs mer fokus på de mätbara kunskaperna vilket resulterar i att de estetiska ämnena bortprioriteras. Syftet med studien är därför att undersöka i vilken utsträckning och på vilket sätt pedagoger använder dramapedagogik på lågstadiet. För att svara på denna fråga användes de didaktiska frågorna: varför, i vilka sammanhang, hur och när lärare och fritidspedagoger använder dramapedagogik i sin undervisning på lågstadiet. Genom intervjuer kunde olika teman identifieras. På frågan om varför dramapedagogik används framkom det att arbetssättet är inkluderande och lustfyllt samt att det gynnar den socioemotionella utvecklingen. Angående sammanhang ansåg pedagogerna att arbetssättet passar i de flesta sammanhang genom olika dramapedagogiska metoder som inte är bundna till något specifikt skolämne. Vid frågan hur frekvent arbetssättet används i verksamheterna kunde aspekten av tidsbrist urskiljas vilket är anledningen till att större projekt såsom pjäser och musikaler inte sker i samma utsträckning som förr. Tidsbristen förklarades med den nuvarande läroplanens införande. Slutsatsen var att pedagogerna använder sig av dramapedagogik på olika sätt som inte behöver vara krävande tids- eller kunskapsmässigt. Dramaarbetet tycks enligt pedagogerna berika elevernas skoldag och därmed gynna inlärningen vilket i sig är en stor anledning till varför arbetssättet nyttjas i svenska klassrum.

Bristen på arbetskraft inom tech-branschen skapar en konkurrens bland tech- rekryterare om tech-talanger. Tech-rekrytering skiljer sig ofta från mer traditionella rekryteringsprodecurer. Istället för ett arbetssätt där den sökande själv skickar in ansökan behöver tech-rekryterare använda uppsökande metoder. Kunskapsintresset i denna uppsats är att studera rekrytering och särskilt relationen mellan rekryterare och talang utifrån ett lärandeperspektiv. Studien kompletterar tidigare studier eftersom den empiriskt studerar både rekryterares och talangers upplevelser av rekryteringsprocesser. Genom att använda ett situerat perspektiv på lärande, samt teorier om socialisering, identitetsdilemman, kommunikativa dilemman och karriärsprocesser, har studien fokuserat på lärande-, socialisation- och karriärsprocesser vid tech-rekrytering. Studien har en kvalitativ ansats och har använt en tvärsnittsdesign, där åtta semistrukturerade intervjuer har genomförts med yrkesverksamma tech-rekryterare och tech-talanger från sju organisationer. Resultatet visar att tech-rekryterarna och tech-talangerna har förflyttat sig i karriären för att få bättre villkor till lärande. I tech-rekryterarnas karriär visade sig deras första arbete inom tech-rekrytering bidragit med grundläggande kunskaper för yrket. Det första arbetet framstår även vara centralt för att stanna kvar inom rekryteringsyrket eftersom det bland annat väckt ett intresse och förståelse hos rekryterarna för teknik och rekrytering. Resultatet visade att tech-talangerna från början i deras karriär haft en kompetensutvecklingsstrategi som varit att arbeta på bolag där de får utföra kvalitativa arbetsuppgifter och med seniora kollegor. Resultatet visade att såväl tech-rekryterarna som tech-talangerna fortsatt sin karriärsresa och upplevt bättre villkor till lärande i takt med sina förflyttningar i karriären. En central del i resultatet visade även att rekryterarna och talangerna upplever olika dilemman kopplade till rekryteringsprocessen och i relationen till varandra, vilka är: kontaktdilemman, snabbhets- och maktdilemman och bedömningsdilemman. / The lack of labor in the tech industry contributes to a struggle among tech-recruiters for tech-talent. Tech recruitment often differs from more traditional recruitment procedures. Instead of a way of working where the applicant submits an application, tech-recruiters need to use outreach methods. The interest in knowledge in this thesis is to study recruitment and especially the relationship between recruiters and talent from a learning perspective. The study complements previous studies because it empirically studies both tech-recruiters and tech-talents experiences of recruitment processes. Using a situated perspective on learning, as well as theories of socialization, identity dilemmas, communicative dilemmas and career processes, the study have focused on learning, socialization and career processes in tech recruitment. The study has a qualitative approach and has used a cross-sectional design, where eight semi-structured interviews have been conducted with professional tech-recruiters and tech-talents from seven organizations. The findings show that tech-recruiters and tech-talents have moved in their careers to get better conditions for learning. In the career of tech-recruiters, their first job in tech-recruitment proved to have contributed with basic knowledge of the profession. Their first job also seems to be central to staying in the recruitment profession because it has aroused an interest and understanding among the recruiters for technology and recruitment. The findings showed that the tech-talents from the beginning of their careers had a skills development strategy that has been to work at companies where they can perform qualitative tasks and with senior colleagues. The findings showed that both tech-recruiters and the tech-talents continued their career journey and experienced better conditions for learning in step with their career shifts. A central part of the findings also showed that recruiters and talents experience different dilemmas linked to the recruitment process and the relationship to each other, which are: the contact dilemma, the speed and power dilemma and the assessment dilemma.