The research problem we propose to reflect about concerns the constitution of language and of memory in the metallic materiality. We focus, in our work, on the fact that technologies are produced by man, under certain social and historical conditions. The fact that language may be conceived externally to man in informatic media -, does not mean that it is in a transcendental plan in relation to the subject, to the discourse. Furthermore, what is from the historical subject belongs as well to the machine, to the technique. Our point of view, thus, is that technique and man, language and subject should be thought as mutually constituted and not as opposite elements, which would exclude each other. In this way, we propose, under the perspective of French Discourse Analysis, a study of language that takes in consideration that language and discourse are mutually constituted. Our aim is to emphasize that the order of language is not independent from the order of discourse. By observing the working of formalization and of the categories of time and space in Google, we infer that there is a double movement of sense constitution in the metallic materiality: on the one hand, a movement that searches the completeness of language, which would be possible through the constitution of a memory with a large capacity of storage; in this memory, senses would be frozen in space and time, so that the irruption of other significations would not become possible. On the other hand, incompleteness is constituted in the simulation of completeness itself. We think incompleteness is structured by the excess of information that circulates in Web. This excess is a sign that there is ever something to be said, since language is not a representation of the world. / O problema de pesquisa sobre o qual nos propomos refletir tem como foco a constituição da linguagem e da memória na materialidade metálica. Chamamos atenção, em nosso trabalho, para o fato de que as tecnologias são produzidas pelos homens, como frutos de certas condições sócio-históricas. O fato de a linguagem poder ser concebida exteriormente ao homem - nos meios informáticos -, não significa que ela esteja em um plano transcendente ao do sujeito, do discurso. Assim, o que é do sujeito histórico também faz parte da máquina, da técnica. Nosso ponto de vista, portanto, é de que técnica e homem, língua e sujeito devem ser pensados enquanto mutuamente constitutivos e não enquanto elementos opositivos, os quais se excluiriam uns aos outros. Nessa perspectiva, propomos, a partir da Análise de Discurso de linha francesa, um estudo da linguagem que vise a uma relação de recobrimento entre língua e discurso. Nosso objetivo é o de salientar que a ordem da língua, do formal não é independente da ordem do discursivo. A partir da observação do funcionamento da formalização e das categorias de tempo e de espaço no site de busca Google, inferimos que há um duplo movimento de constituição de sentidos na materialidade metálica: por um lado, aquele que busca a completude da linguagem, por meio da constituição de uma memória com grande capacidade de armazenamento de dados, na qual os sentidos seriam congelados no espaço e no tempo, de modo a não dar abertura para a irrupção de outras significações. Por outro lado, é, na própria simulação da completude, que se constitui a incompletude. Esta, para nós, vem a ser estruturada pelo excesso de informação que circula na Internet. Este excesso é a marca de que sempre há o que dizer, tendo em vista que a linguagem não é uma representação do mundo.

Made available in DSpace on 2016-12-23T14:34:14Z (GMT). No. of bitstreams: 1 Geovana da Silva Martelo.pdf: 1277116 bytes, checksum: 8cd2da693099af7d9cd5ff48bb751456 (MD5) Previous issue date: 2011-08-26 / Este estudo pretende focar-se na capacidade comum da literatura e do cinema em produzir narrativas, pois na dinâmica das formas de narrar dessas duas artes parece haver um intercâmbio que produz renovadas estratégias de narração. Para empreender este estudo, será utilizada uma perspectiva que leva em consideração os meios materiais da narrativa implicados nessas duas artes, dentro da visão teórica das materialidades de comunicação e da intermidialidade, a partir de um diálogo com McLuhan, Gumbrecht, Schmidt e Paesch. Nessa ótica, o sistema literário é pensado em sua inter-relacão histórica com outros sistemas culturais e midiáticos, apropriando-se sempre de novos contornos. A partir desse ponto de vista, é possível afirmar que desde o século XIX a literatura tem sido envolvida pelo contexto das tecnologias audiovisuais, que alcançaram, na contemporaneidade, uma representatividade significativa. Em consequência disso, as fronteiras entre literatura e cinema se diluíram ainda mais, resultando em renovadas formas e tessituras da narrativa literária. Assim, este estudo pretende fazer uma aproximação entre os meios expressivos da literatura e do cinema com o objetivo de investigar os reflexos da intersecção dessas mídias no romance Confissões de Ralfo: uma autobiografia imaginária, do escritor Sérgio Sant Anna / This study is intended to focus on the common capability of literature and cinema in producing narratives, for in the dynamics of storytelling on these two arts there seems to be an interchange that creates renewed forms of narration strategies. In order to set forth this study, a perspective that takes narrative s material supports involved in these two arts will be utilized. Such an approach considers literature as a system that embodies the phenomenon of narration. Within this perspective, the literary system is interrelated to other systems, assuming new outlines. As from these points of view, it is possible to defend that since the 19th century literature has been surrounded by the context of the new oncoming medias which have reached, in modern age, remarkable importance. For that reason, the frontiers between literature and cinema have dissolved even more, resulting in renewed forms of textual tessitures of theirs narrations. Thus this study intends to draw an approximation between expressive means of literature and of cinema so as to investigate the reflexes of the intersection of these two medias in the novel Confissões de Ralfo: Uma autobiografia imaginária by the author Sérgio Sant Anna

A dissertação narra o percurso da pesquisadora em torno do conceito “materialidade”, a fim de discutir e ilustrar uma proposta de abordagem imagético-apresentativa, à luz da psicologia analítica. O conceito é cotejado com termos correlatos utilizados por autores que também se ocuparam do tema, como Gaston Bachelard, Alvaro Gouvêa e outros mais alinhados ao pensamento de D. W. Winnicott. Explora, também, aproximações e distanciamentos semânticos em relação a termos similares, como “matéria” e “matéria-prima”, para especificar o sentido atribuído à materialidade neste trabalho. A discussão avança com a apresentação de alguns conceitos da psicologia analítica, principalmente sobre a consciência e o aspecto dinâmico da psique na concepção de C. G. Jung. Além disso, tece considerações sobre o processo de individuação numa perspectiva alquímica, tomando a materialidade como uma opus cum natura. A seguir, apoiada em conceitos de James Hillman, propõe o resgate da noção de anima mundi e aisthesis para fundamentar o aspecto apresentativo da materialidade numa relação dialética com a consciência. Preocupa-se em questionar a postura interpretativa em relação à materialidade, quando tomada em termos exclusivamente representacionais, e retoma o método proposto por Jung – pautado numa postura fenomenológica frente às imagens psíquicas – para sustentar a abordagem imagético-apresentativa, diferenciando-a das práticas de terapia com arte ou arteterapia, que abordam a materialidade como recurso expressivo. A dissertação também faz uma breve incursão no tema “processo grupal” no campo da psicologia analítica, uma vez que são utilizados relatos de sessões de um grupo terapêutico-vivencial para ilustrar a discussão. Embora não proponha um estudo de caso do grupo, identifica alguns temas que se constelaram no atendimento. Finalmente, aponta transformações observadas simultaneamente no grupo e na identidade da pesquisadora – que culminaram na elaboração de uma nova proposta de abordagem da materialidade no setting individual e/ou grupal, aqui denominada imagético-apresentativa. / This dissertation relates the path followed by the researcher around the notion of “materiality” in order to discuss and illustrate an imagetical-presentative approach in the light of the Analytical Psychology. This notion is compared to correlative terms used by authors that also worried about it, like Gaston Bachelard, Alvaro Gouvêa and others closer to Winnicott´s thoughts. It also explores semantic similarities (approximations) and differences that refer to some similar terms like “material” and “raw-material” in order to specify the meaning attributed to “materiality” in this research. The discussion moves forward to the presentation of some notions in the Analytical Psychology field – mainly about consciousness and the dynamic aspect of the psyche, according to C.G.Jung. Besides, the research makes some considerations about the individuation process under an alchemical perspective, taking “materiality” as an "opus cum natura". Afterwards, supported by James Hillman, it proposes the recuperation of "anima mundi" and "aisthesis" notions in order to sustain the presentative aspect of materiality in a dialectical relation with the consciousness. The research aims at questioning the interpretative posture related to materiality when taken exclusively as representational terms and reviews the method proposed by Jung, under a phenomenological point of view towards the psychic images in order to support the proposal of an imagetical-presentative approach, distinguishing it from the therapy practices with arts or art therapy – that consider materiality as an expressive resource. It also makes an incursion in the topic “group process” in the Analytical Psychology field – as some reports of sessions of an experiential group are used in order to illustrate the discussion. Although it does not propose a case study of the group, this dissertation identifies some topics that were constellated throughout the sessions. Finally, this research points transformations observed simultaneously in the group and in the identity of the researcher that ended up in the elaboration of a new proposal towards materiality in the individual/group setting – that here is called imagetical-presentative.

The aim of this dissertation is to investigate how public spaces in the Swedish History Museum in Stockholm have materialized in relation to cultural policy objectives and ideals of a democratic and inclusive museum. The investigated time period spans from 1943 to 2013. The Swedish History Museum is a state-run archaeological museum, where norms and values are expressed through various governmental policy- and control documents. Hence, entering the museum also means entering a symbolic national space. The fact that the museum has been politically regulated throughout the studied period makes it illustrative of changing democratic public ideals in the 20th century. Unlike other similar studies, the empirical focus is not on exhibitions, but on other public spaces that visitors encounter; the entrance, the shop, children’s spaces and the courtyard. These spaces are less invisible in the museum hierarchy. At the same time, they are often central spaces to visitors. The museum building is not as fixed as it might appear to be. Drawing on ideas from Bruno Latour and Doreen Massey – and their perspectives on space, materiality and power – I explore how the social and spatial changes of the museum affect each other. Efforts have continuously been made to alter these public spaces, and the outlines and uses have repeatedly changed. By combining archival materials, interviews and observations, I investigate how democratic ideals have been negotiated in material forms, and what kind of audiences/visitors these spaces have conceptualized over time. Linking different kinds of sources, that speak from various levels and positions, has been an analytically important method. The analysis describes the museum as a meaning producing network that materially embody different, and sometimes conflicting ideologies. The public spaces have been shaped by tensions; between education versus pleasure, collecting versus showing, and by the dichotomy between culture and commerce. What is communicated thorough various materialities and inscriptions in the shop, the entrance, and the spaces for children sometimes contradict perspectives produced in exhibitions and educational programmes. Hierarchies between professional positions and knowledges propagate as social extensions towards the visitors, and sometimes, reproduce structural hierarchies. Museum functions literally “takes place”, depending on how they are valued and assigned meaning. The museum has increasingly included children, while also becoming a space for commerce. Various, and sometimes incompatible ideals on equality and inclusion have been implemented, simultaneously. At the same time, the public spaces carry unique spatial qualities, which can benefit inclusion. Concluding, the dissertation stresses that the entrance, the shop, the children spaces and other public spaces perceived as “peripheral” need to be viewed as central, not as superficial services or add-ons to the “real” museum experience, i.e. the exhibition.

The application of Adventure Therapy mediums for therapeutic, recreational and team building purposes have become increasingly popular over the past thirty years. These activities take place in a variety of contexts. One such a context that is designed and built with the explicit aim of providing challenging, adventurous activities is the high ropes course. Documented application of Ropes Courses largely consists of group-focussed application and the use of these courses in contexts where the focus is on the individual has been explored to a lesser degree. In this study analysis focuses on the interaction between a therapist and a client during a shared high ropes activity. At the time of the study, participants were also engaged in an individual psychotherapeutic process independent of the study. The study is informed by a Social Constructionist approach and in particular by Discursive Psychology. The work of members of the Discourse and Rhetoric Group at the University of Loughborough ( in particular that of Potter and Edwards) forms an integral part of the epistemology and methodology applied in this study. In this approach there is a strong emphasis on the accomplishment and management of action in interaction. Discourse is conceptualised as a resource that functions to accomplish action and discursive analysis focuses on the manner in which discursive resources are employed to achieve action in interaction. Discursive psychologists view the material context as well as embodiment as important contributors to the construction of action. These aspects are particularly relevant in a Ropes course context where physical activity is prominent. A theory of action in interaction proposed by Charles Goodwin informs the current exploration of the contribution of embodiment and materiality to the organisation of action. / Dissertation (MA (Clinical Psychology))--University of Pretoria, 2006. / Psychology / unrestricted

This thesis explores EU borders and bordering in Central and Eastern Europe (CEE) in the context of the 2004 EU enlargement, the 2007 extension of the Schengen zone and the 2004 Eastern Dimension of the European Neighbourhood Policy (ENP) that, in 2009, was upgraded to the Eastern Partnership (EaP). The thesis links borders with identities and governing orders to argue that while the EU has successfully included, inter alia, Czechs and Poles, it has excluded Ukrainians sufficiently to impact negatively on their lives and on the achievement of EU goals in the neighbourhood. The de-bordering and re-bordering inherent to enlargement, Schengen, ENP and EaP have (partially) displaced CEE borders from traditional locations at state frontiers. Bordering activities still take place within the supposedly borderless Schengen zone as well as at external frontiers with neighbouring states, but the EU has also exported border practices onto the territories of its neighbours. These processes prompted the questions addressed in this thesis: where, how, why and with what effects the EU makes its borders in CEE. An analytical framework – the ‘Borderscape’ – is developed to explore the complex manifestations of post-frontier bordering and to understand its socio-political, spatial and temporal underpinnings, and the consequences that EU bordering has for identities and subjectivities, order and governance in CEE. The borderscape encompasses border features, bordering discourses and bordering practices, which are constituted by EU and national governmental actors, border security and law enforcement agencies, by civil society actors and the people who move and dwell in the region. The borderscape is tailored to the regional particularities of CEE, with specific reference to processes of post-communist transition, EU accession and the EU’s engagement with its neighbours, specifically Ukraine. The findings of the research are based on extensive, interpretive fieldwork conducted in the Czech Republic, Poland and Ukraine. The thesis shows the various sites, forms and functions of contemporary EU bordering that comprise a diverse yet connected border archipelago stretching from the Schengen interior into the Eastern neighbourhood. The EU’s bordering discourses are shown to be plural and often contradictory: notions of freedom, security and justice and the desire to benefit from sharing these with Central and Eastern Europeans are juxtaposed with narratives of fear, suspicion and narrow-minded self-interest. The EU’s Europeanised bordering practices, including Risk Analysis and the protection of both borders and migrants, have enhanced mobility for EU-Europeans (such as Czechs and Poles) who now share in the highly desirable form of order that it has created. However, the EU has also restricted mobility for Ukrainians, who are still seen as ‘Eastern-Europeans’. The borderscape betrays the EU’s internal crises of identity and confidence, which has had psycho-social exclusionary effects on Ukrainians and contributed to the politico-strategic crisis in the Eastern Neighbourhood. However this analysis also points to ways that the EU can address these issues.

Distanseringen under pandemin har ändrat förutsättningarna för hur vi människor kan kommunicera och interagera med varandra. Detta kan i sin tur ha en påverkan på organisationskulturen. Förut fysiska och sociala interaktioner sker nu digitalt och detta har medfört en distansering kollegor emellan. Beroende på hur organisationer har valt att använda sig av digitaliseringen som följde pandemin har olika effekter skett och därav påverkat organisationskulturen på olika sätt. Syftet är att undersöka och bidra med kunskap om hur distansarbete via digitala kanaler kan påverka organisationers kultur och om sociala mönster har förändrats. För att få fram hur organisationer har påverkats har vi genomfört intervjuer med åtta olika individer på åtta olika organisationer. Det som är mest tydligt är att digitaliseringen är här för att stanna och att ingen av de individerna vi har undersökt kan tänka sig att återvända till samma arbetssätt som före pandemin. Förändringen av kommunikation har medfört en försämring när det rör sig om beslutsfattande inom organisationer och det har även skapat en distansering kollegor emellan. / The distancing during the pandemic has changed the conditions for how we humans can communicate and interact with each other. This in turn can have an impact on the organizational culture. Before, physical and social interactions now take place digitally and this has led to a distance between colleagues. Depending on how organizations have chosen to use the digitalisation that followed the pandemic, different effects have taken place and therefore affected the organizational culture in different ways. The purpose is to investigate and contribute knowledge about how teleworking via digital channels can affect organizations' culture and whether social patterns have changed. To find out how organizations have been affected, we conducted interviews with eight different individuals at eight different organizations. What is most clear is that digitalisation is here to stay and that none of the individuals we have examined can imagine returning to the same way of working as before the pandemic. The change in communication has led to a deterioration when it comes to decision-making within organizations and it has also created a distance between colleagues.

Displacing the Familiar is a practice-based research project focused around the exploration of digital materiality. This writing is intended to give the reader an exposé of the thought process that has emerged out of my crafting and practice. It also presents shorter technical insights and examples of software used. This project takes it starting point in the joy of unpacking the digital technology. The urge to explore and understand the underlying processes that renders visuals material on the screen. How can a visual practice concerned with digital materiality work?

Arbetet med denna licentiatavhandling har skett inom ramarna för det Interregionalt finansierade projektet Gränslös samverkan för ökad säkerhet 2. Syftet med avhandlingen har varit att fördjupa kunskapen om kommunal krisledning genom att också inkludera materialitetens medverkan i krisledningen och vilka förutsättningarna är för att de ska brukas. Med perspektivet av hur analoga och digitala resurser används under krisledning och vilka förutsättningar som finns för att detta ska göras skapas insikter att ta i beaktande när övningar och IT-stöd för övningar.  Studier har genomförts med en kvalitativ ansats med litteraturstudier, intervjuer och observationer som datainsamlingsmetoder. Det empiriska materialet har därefter betraktats med meningsgivande (sensemaking) och affordans (affordance) som teoretiska perspektiv för att förstå materialitetens roll och förutsättning i kommunal krisledning. Avhandlingen visar att de förmågor som är återkommande under övningar är samverkan, kommunikation, informationsdelning och skapande av lägesbild. Ofta övas inte aktiviteterna i sin helhet då tekniska och analoga resurser inte innefattas i övningarna. Aktörerna övar därmed delar av görandet, att tänka kring exempelvis att skapa en lägesbild, och inte görandet som helhet som involverar materialitet.  Aktörernas egna reflektioner från utvärderingarna är att de själva önskar mer övning med de tekniska resurser som de har till sitt förfogande. Artikel II visar att materialiteten tar en stor plats i det arbete som sker i krisledningsrummet. Materialiteten kan ses anta roller som strukturgivande, meningsgivande, tidsöverbryggande och distansöverbryggande. Den tredje ingående artikeln visar att förutsättningar för att kunna bedriva krisledning är att kunna hantera materialitetens roller och att det krävs flexibilitet då krisledningsgruppens sammansättning är beroende av krisens art och omfattning. Ytterligare en förutsättning är trygghet i den egna organisationen, att känna sin egen roll i krisledningsgruppen och att kunna hantera de analoga och digitala resurser som finns tillgängliga är även det en förutsättning för arbetet. Avslutningsvis visar arbetet också att tid är viktig. Tid att kunna öva de personer som ska ingå i krisledningsgruppen för att därmed kunna skapa den trygghet som behövs. / <p>Vid tidpunkten för försvar av avhandlingen var delarbete 2 opublicerat men accepterat.</p><p>At the time of the defence the following paper was accepted, but unpublished: paper 2.</p>

This paper is about my relationship to the material clay, and how it has affected my creative process. In this text I argue that clay is a material with human properties. I think of my practice as a dialogue between me and the material, an exchange rather than a monologue. This is how I picture clay as my main partner for discussing the deeper questions of what it is to be human, how clay as material can stand as metaphor for what it is to be living. I argue that clay has the poetic strength to communicate these questions of life of a more existential nature. Through the argument of clay being a material with human properties, I reason that a practice in materiality is a study of empathy since we spend much time with our materials to fully grasp how they behave. I firmly believe that this world is in need of an empathic movement, and I think that the field of craft has the possibility to be part of that movement. I see practitioners within the field of craft as practitioners of the sometimes irrational, emotional and indescribable parts of life. As researchers of the more existential qualities of life, I believe that we are important voices in a society that is getting more focused on rationality. With some help from writers, practitioners and philosophers within and outside the field of craft, I reason around the following research question: Can a material based practice stand as lodestar in todays society, to show empathy towards each other as beings as well as our surroundings?