The aim of this thesis is to examine and analyse if it is possible to distinguish a new perception of time and temporality in the Swedish fashion magazine Magasin för konst, nyheter och moder, and in that case how it is expressed. To discover this, I have used the theories of the philosophers and historians Reinhart Koselleck and Marshall Berman. In their works they have pointed out and described how the early decades of the nineteenth century was a crucial time for our perception of the modern world, in the sense that we ever since then have experienced a gap between the past and the future where we cannot derive our expectations from our past experiences anymore. I have studied if this notion is communicated in the articles, and came to the conclusion that there is a new awareness of time articulated in the magazine. Mainly  there are three different understandings of time and temporality expressed within the magazine – first are those articles that shows a general new awareness of time in a constructive way, neither through a positive or negative perspective. Furthermore, there are also expressions for connections between the materialistic content in the magazine and the view on temporality, where the acknowledgment of a new temporality in fashion seems to also have an impact on a more ideological perception of time. Finally there are articles which portrays the discrepancy between expectation and experience as something with a negative significance for the future, but similarly puts this in a way that illuminates that the future is now something adaptable and possible to influence in a certain direction. This shows a new way of understanding how, in a Swedish nineteenth century context, material culture could affect people’s awareness of time and temporality and hence also their thoughts and outlook of the future even in more abstract issues. The upcoming becomes possible to interpret as something materialistic, and therefore also something more concrete and arguable.

In this master project I investigate materiality, transhumanism and alternative ways of producing knowledge and new discussions in the fields of glass craft, electronics and biotechnology. I make do-it-yourself glass computers and explore the relation between body/human-machine/computer with a hacker approach.

This thesis is an archaeological and ethnographic exploration of historic military sites associated with the Cold War. It takes a multi-sited approach to former radar installations in the UK and examines the range of meanings and values that surround them, as well as their mediation, management and curation in the contemporary landscape. This thesis provides a detailed study of a range of related (although not necessarily overlapping) practices, which have accumulated around these places since the 1990s. Much has been written about the ruined-aesthetic of abandoned military sites. Moreover, conservation professionals have undertaken extensive research and granted heritage status to a number of key sites. However, little academic research has been carried out concerning the contemporary social life of former military installations. Furthermore, despite valuable archaeological research concerning the character and form of Cold War historic sites, little attention has been given to the ways in which they are involved in the production of ideas surrounding the Cold War and Cold War heritage in the present; this thesis aims to cover both of these issues. Each of the main chapters in this thesis focuses on a particular set of practices or relationships surrounding historic radar sites, which have been treated in a relatively sporadic and uneven fashion – some have been demolished, others left in ruination and limbo, whereas as a few have been designated as nationally important heritage sites. Therefore, a number of heritage and memory practices are covered, including conservation management, militarisation and nostalgia, as well as the museumification of Cold War sites and objects and the (often) disparate memory practices of former radar veterans. Principally, the analysis in this thesis focuses on extensive ethnographic research undertaken by the author at a number of sites in the UK. This includes semi-structured interviews, participant observation and archival research undertaken in England and Scotland. The key case-studies are the listed and scheduled monuments at RAF Neatishead in Norfolk; the Air Defence Radar Museum, which is located on the same site; and a former early warning site at Saxa Vord in Unst, Shetland. Research conducted at a number of other Cold War sites and museums is also discussed. The principal aim of this thesis is to contribute a set of nuanced and detailed accounts surrounding the archaeology and heritage of the recent past. The Cold War was a varied and complex phenomenon – one which is much debated. Manifold legacies of the Cold War also continue to shape and influence the contemporary world. In a similar manner, concepts and practices surrounding heritage and memory are widely studied, but remain slippery and resist straightforward interpretation. Therefore, the complexities surrounding these phenomena are magnified when they are combined in the present through the notion of Cold War heritage. In order to add some specificity to these related issues, this thesis focuses on two main questions (which are really two-sides of the same coin): what kind of heritage emerges in relation to historic Cold War radar sites? And, what kind of Cold War is produced in the context of heritage and memory practices? Throughout the thesis, it is argued that the Cold War is an uneven, complex and occasionally difficult heritage to deal with in the UK. Mostly, this relates to practical problems such as the complexities surrounding the ownership of former military sites, as well as a number of other conceptual and philosophical issues. For example, in the context of designation and management, this emerges as a tension between the idea of the Cold War as avant-garde heritage and modern conservation principles that underpin contemporary heritage management practices. Furthermore, the emphasis placed on materiality, place and continuity in heritage and memory practices are also brought into relief. At times, these are shown to be complicated by the (at times) elusive, unpredictable and uncertain character of the Cold War in the present. Using radar sites as a microcosm, it is argued that former Cold War sites are seldom the product of coherent or unified approaches to heritage and memory. Instead, they are often at the centre of a variety of converging, conflicting and confounding agendas. Practices surrounding radar sites also present a number of ethical and political challenges. Moreover, it is also argued that radar sites, despite their billing as Cold War heritage, cannot simply be reduced or collapsed into the concept of the Cold War. Nonetheless, the author argues that this kind of fragmentation and complexity might form the basis of a more comprehensive approach to the Cold War and the recent past in the present. Therefore, in the conclusions to this thesis, the author presents a number of avenues for future research and examines the implications of his findings.

Det finns klienter som har vissa förväntningar på revisionen men det är inte alltid dessa förväntningar stämmer överens med revisorns. Den här skillnaden kallas för förväntningsgap. Revisorns granskning ska genomföras enligt väsentlighet och risk samtidigt som revisorn ska vara oberoende i förhållande till klienten. Syftet med denna studie är att få insikt i hur förväntningsgapet mellan revisorer och deras klienter uppfattas av auktoriserade revisorer och varför fenomenet uppkommer. Vidare syftar även studien till att förklara om revisorns oberoende ställning påverkas av förväntningsgapet. I studien används en kvalitativ metod där författarna genomför fyra stycken intervjuer med auktoriserade revisorer från två olika revisionsbyråer. Resultatet visar på att det går att identifiera olika typer av förväntningsgap och att det finns fler än en anledning till att gapen uppkommer. Den främsta anledningen till varför fenomenet uppkommer är bristen på kommunikation mellan revisor och klient. Det här gäller åt båda håll. Det framgår dessutom att de framtagna förväntningsgapen inte har någon direkt påverkan på revisorns oberoende. Ett indirekt samband skulle dock kunna existera mellan vänskapshotet och förväntningsgapet. / There are clients who have different expectations of the audit, but it is not always as theseexpectations are consistent with the auditor’s. This difference is called expectation gap. Theauditor’s review shall be conducted according to materiality and risk while the auditor should be independent of the client. The purpose of this study is to gain insight into how the expectation gap between auditors and their clients is perceived by authorized auditors and why thephenomenon arises. Furthermore, the study also aims at explaining whether the auditor’sindependent position is affected by the expectation gap. The study uses a qualitative method in which the authors conduct four interviews with authorized auditors from two different audit firms. The result shows that it is possible to identify diverse types of expectations gap and that there is more than one reason for the gaps to arise. The main reason why the phenomenon arises is the lack of communication between the accountant and the client. This applies in both directions. It is also apparent that the expected expectations have no direct impact on theauditor’s independence. However, an indirect relationship could exist between the threat of friendship and the expectation gap.

Alors que l'évolution des pratiques de fabrication numérique dans les champs de l'art, de l'architecture et du design semble pointer vers l'émergence d'une « nouvelle matérialité », marquée par les développements contemporains de la robotique, de la computation et des sciences des matériaux, les discours entourant l'usage des machines à commande numérique restent trop souvent dominés par une compréhension passive de l'idée de matière. Cette thèse se propose d'actualiser la vision des rapports entre conception numérique et matérialité, en développant des schémas productifs ouverts à l'expression de formes d'agentivité matérielle. Cherchant à dépasser l'articulation prescriptive traditionnelle entre conception et fabrication, elle défend l'idée d'une redistribution de l'autorité vers un réseau d'acteurs productifs autonomes. L'argument développé vise avant tout à mettre à jour des méthodologies pratiques ainsi qu'un cadre conceptuel partageables, susceptibles d'être réinvestis par d'autres praticiens. Cinq expérimentations pratiques, reliées par leurs usages prospectifs de la programmation et de la fabrication numérique, en constituent l'ossature empirique. Mobilisant des auteurs comme Gilbert Simondon et Andrew Pickering, le travail de conceptualisation réalisé permet d'opérer un retour réflexif sur ces expériences, et d'en situer les enjeux au regard d'un certain nombre de précédents historiques, tels ceux de la production numérique non standard et de la cybernétique. / Recent developments in digital fabrication practices across the fields of art, architecture and design have inspired the notion of a “new materiality” — a rethinking of our relationship to the physical world in light of the ever-increasing convergence between robotics, computation and materials science. Yet, the very use of computer-controlled machinery remains, more often than not, envisioned in terms of a passive understanding of matter. This thesis aims at offering an updated vision of the relationship between materiality and design, by developing new production schemes allowing for an expression of material agency. Criticizing the traditional idea of a prescriptive, deterministic link between design and fabrication, the proposed argument reframes authority as a shared resource, spread through a network of productive and autonomous agents. The thesis' main outcomes consist in a set of practical methodologies as well as an encompassing conceptual framework, which may both be reinvested by other practitioners. Informed by and grounded in practice, the research builds on five experiments, adopting a prospective approach towards programming and digital fabrication. Drawing on authors like Gilbert Simondon and Andrew Pickering, the accompanying conceptualization allows for a reflexive discussion of the thesis' practical developments, while situating them in respect to such historical precedents as non standard production and cybernetics.

En este artículo presentamos una reflexión sobre cómo estudiamos lo digital desde una perspectiva antropológica y exploramos cómo se han planteado cuestiones como la diversidad cultural, las desigualdades sociales y las posibilidades de cambio y transformación social vin- culadas con las tecnologías digitales. Proponemos que es necesario abrir un debate sobre las conceptualizaciones de lo digital y cuáles son las categorías que utilizamos para describir los procesos de cambio y continuidad en lo cotidiano, así como el papel de las tecnologías en ellos. este planteamiento nos lleva a cuestionarnos cómo los etnó- grafos y etnógrafas hemos explorado las complejas relaciones entre las prácticas locales, los tránsitos globales y las tecnologías digitales; para ello, abordamos algunos caminos que ha tomado el abordaje de los aspectos materiales y visuales de lo digital en la creación cultural y en los medios de comunicación y nos preguntamos sobre la manera en que incorporamos lo digital en nuestra propia práctica etnográfica y producción de conocimiento antropológico. / This paper discusses digital technologies from an anthropological perspective, concentrating on ways in which cultural diversity, social inequality and the possibilities of change and social transformation have been discussed. We examine the ways in which the digital domain has been conceived, categories used to describe processes of change and continuity in everyday life, and the impact of digital technology on these. this approach leads us to question up how ethnographers have explored the relationships among local practices, global transits and digital technologies, and the material and visual aspects of the digital in cultural production and media communication. Finally, we discuss how to incorporate digital technologies in ethnographic practice and anthropological knowledge.

Made available in DSpace on 2016-12-23T13:46:03Z (GMT). No. of bitstreams: 1 Claudia Stringari Piassi.pdf: 9823271 bytes, checksum: 1925ffb8ca3b79af2c262aa493a30a83 (MD5) Previous issue date: 2013-05-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Flavio-Shiro's familiar influence by oriental art is on of the requirements, among others, to understand the genesis of his shapes, lines, colors and gestures on painting work. Flavio-Shiro‟s dissertation, his painting and his diversity aims to study some works created by the artists in the 1950s, 1960s and 1970s that highlight by the use of diverse materials. The materiality of painting and how to make referrals Eastern calligraphic gestures which guide them throughout his artistic career. Materiality was analyzed here as a way to highlight the relationship of the material to the technique used by the artist both in manufacturing and in the handling of his artwork. Shiro‟s photographs was another technique studied in this research, but within a comparative analysis with some of his paintings. It is the technique used by the artist that requires more detail in the research. Therefore there is an intention to continue with photographs raise discussion about an era of abstraction photographs and appear new discussions about the artist‟s painting. To seek points of convergence with those who worked on a performative way as Jackson Pollock and Antoni Tàpies, establishing parallel with performance in oriental painting. Lines are formed from gestures in a position not so usual for an artist, or crouching on the work, revealing skill in forming firm and agile lines, even though there is formation of ideograms, reminiscent of a past that is present in his life. Because of this, the pictorical production, the artist (so formative horizontally and vertically, depending on the intent and uses of matter) transforms a brushstroke into vigorous and expressive gestures. It is noticed that there is a physical energy and body forming every brushstroke, drawings and ideograms that express the essence of writing. Therefore this research seeks to establish a possible dialogue between the ancient art of Japanese calligraphy and expressiveness of painting performative character of Shiró. The yearning for freedom in Shiro‟s painting since his childhood, when he received encouragement from his father and today makes him a painter with such unique characteristics of artistc production. And his concern about the everyday life and, because he is an artist who never bothered to specialize in a movement or technique of painting is what feeds the performer during his career / A influência familiar de Flavio-Shiró pela arte oriental é um dos requisitos, entre tantos outros, para entender a gênese de suas formas, linhas, cores e gestos diante da pintura. A dissertação Flavio-Shiró, sua Pintura e sua Plurisensorialidade, tem como objetivo estudar algumas obras criadas pelo artista nas décadas de 1950, 1960 e 1970 e que se destacaram pelo uso diversificado de materiais. A materialidade e a maneira de pintar fazem referências aos gestos caligráficos orientais gestos estes que norteiam todo o seu percurso artístico. A materialidade foi aqui analisada como uma maneira de destacar as relações do material com a técnica utilizada pelo artista tanto na fabricação quanto na manipulação de sua obra de arte. A fotografia de Flavio-Shiró foi outra técnica estudada, na presente pesquisa, porém dentro de uma análise comparativa com algumas de suas pinturas. É uma técnica utilizada pelo artista que requer maior detalhe na pesquisa. Por isso, há uma intenção de continuar com os estudos fotográficos, pois as fotografias de Flavio-Shiró levantam discussões sobre uma época da fotografia abstrata e seus experimentos. Quanto à performance nas obras de Flavio-Shiró aparecem novas discussões sobre a pintura do artista. Buscam-se pontos de convergências com artistas que trabalharam de maneira performática como: Jackson Pollock e Antoni Tàpies, estabelecendo paralelos com a performance na pintura oriental. As linhas são formadas a partir de gestos em uma posição não tão habitual para um artista, ou seja, agachando-se sobre a obra, revelando destreza na formação de linhas firmes e ágeis, mesmo que não haja a formação dos ideogramas, reminiscências de um passado que se faz presente em sua vida. Devido a isso, na produção pictórica, o artista (de maneira performática na horizontal ou na vertical, dependendo da intencionalidade e da matéria que utiliza) transforma a pincelada, em um gesto vigoroso e expressivo. Percebe-se que há uma energia física e corporal que formam, a cada pincelada, desenhos e ideogramas que expressam a essência da escrita. Por isso, esta pesquisa, procura estabelecer um possível diálogo entre a arte milenar da caligrafia japonesa e a expressividade de caráter performático na pintura de Flavio-Shiró. A ânsia por liberdade na pintura de Shiró vem desde a sua infância, quando ele ainda recebia incentivo do pai, e até hoje o torna um pintor com características tão ímpares de produção artística. E a sua preocupação com relação à vida e ao cotidiano, pelo fato de ser um artista que nunca se preocupou em se especializar em um movimento ou técnica de pintura é o que o alimenta durante seu percurso performático

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho visa descrever a experiência de uma pesquisa em psicologia social desde seus momentos iniciais onde o problema de pesquisa ainda se delineava, passando por todas as suas desconstruções a partir do encontro com o campo de pesquisa: a prática do parkour. As ferramentas metodológicas que foram utilizadas vão igualmente recebendo sua forma de acordo com as demandas dos encontros: seguir os atores, acompanhá-los em suas controvérsias, aprender com eles, levar a sério suas recalcitrâncias, compartilhar um campo de afetos, compartilhar uma experiência de cidade e explicitar os processos de tradução da pesquisa. Questões da materialidade, da alteridade, do corpo, da cidade emergem nesse processo, no entanto, busca-se efetivamente descrever um processo de pesquisa à medida que se coloca a questão de pesquisar como uma política ontológica capaz de inventar e re-inventar o pesquisador e as questões que levanta na própria relação com aquilo que o leva a pesquisa. / This paper aims to describe the experience of a research in social psychology since its early stages when the research problem was still emerging, through all its deconstructions by the time of the encounter with the research field: the practice of parkour. The methodological tools that were used would also be shaped according to the demands posed by this relation: to follow the actors, to follow them in their controversies , to learn from them, to take seriously their recalcitrances, to share a field of affections, to share an experience of the city and make explicit the translation processes of the research. Matters of materiality, of otherness, of body, of the city emerge in this process, and however, we seek to effectively describe a research process as it poses the question of researching as an ontological politic capable of inventing and re-inventing the researcher and the questions previously and continuosly raised in the relation to what leads to research.

O presente texto - Inventários do Impalpável: uma coleção de sombras, temporalidades e projeções -, resultado de pesquisa em poéticas visuais, tem como foco principal a análise de meu percurso artístico no qual a sombra foi o principal elemento constituinte. Interessa-me pensar na qualidade da imagem que, se por um lado fixa um momento, por outro lado remete ao movimento, à passagem do tempo e à sua fluidez: o tempo suspenso ou o tempo acumulado, mas sempre a passagem, o devir e o tempo. Por meio de desenhos e de fotografias realizo escrituras temporais. Durante a pesquisa, interessou-me ainda observar como se dá a percepção do tempo-espaço a partir de projeções e investigar, por meios plásticos, a operacionalidade de sua visualidade. O texto está ancorado em três conceitos implicados no processo artístico: temporalidade, materialidade e colecionismo. / This text, – Impalpable Inventories: a collection of shadows, temporalities and projections - the result of research into visual poetry is focused on an analysis of my artistic career in which shadow was the main constituent element. Interests me to think about the image quality which, if on one hand fixes a moment, on the other hand refers to movement, the passage of time and its fluidity: the suspended time or cumulative time, but always in transition, the becoming and the time. Through drawings and photographs I perform temporal scriptures. During the research, I was also interested in observing how the perception of space-time takes place from projections and investigate, by plastic means, the operation of its visuality. The text is anchored on three concepts involved in the artistic process: temporality, materiality and hoarding.

O presente texto - Inventários do Impalpável: uma coleção de sombras, temporalidades e projeções -, resultado de pesquisa em poéticas visuais, tem como foco principal a análise de meu percurso artístico no qual a sombra foi o principal elemento constituinte. Interessa-me pensar na qualidade da imagem que, se por um lado fixa um momento, por outro lado remete ao movimento, à passagem do tempo e à sua fluidez: o tempo suspenso ou o tempo acumulado, mas sempre a passagem, o devir e o tempo. Por meio de desenhos e de fotografias realizo escrituras temporais. Durante a pesquisa, interessou-me ainda observar como se dá a percepção do tempo-espaço a partir de projeções e investigar, por meios plásticos, a operacionalidade de sua visualidade. O texto está ancorado em três conceitos implicados no processo artístico: temporalidade, materialidade e colecionismo. / This text, – Impalpable Inventories: a collection of shadows, temporalities and projections - the result of research into visual poetry is focused on an analysis of my artistic career in which shadow was the main constituent element. Interests me to think about the image quality which, if on one hand fixes a moment, on the other hand refers to movement, the passage of time and its fluidity: the suspended time or cumulative time, but always in transition, the becoming and the time. Through drawings and photographs I perform temporal scriptures. During the research, I was also interested in observing how the perception of space-time takes place from projections and investigate, by plastic means, the operation of its visuality. The text is anchored on three concepts involved in the artistic process: temporality, materiality and hoarding.