I have been investigating the way in which my mind has altered my memories, especially from childhood. The more a moment is recalled, the less precise it becomes. The most inaccurate memories from childhood are the ones I have fixated on. Bedrooms are spaces where dreaming, sleeping and reverie take place leading to even more fragmenting. The intimate space of a bedroom allows me to represent the personal distorted recollections. The bedroom furniture is missing parts, shifted in height and placement or combined together. By making doubles of furniture, a direct comparison can be made from the real piece to the made imagined work. A counterpart can be a defense against loss, by having multiples of the same. Through dwelling on the past I have lost most of the original content and am left with disintegrating parts.

A schema is described as a diagram showing the basic outline of something, or as an organizational or conceptual pattern in the mind. It is also, in Kantian philosophy, a method that allows the understanding to apply concepts to the evidence of the senses. My Schema is a model of emergence.

This is a noticing and a return - a good old-fashioned call and response. An understanding and a becoming. At present, the noticing is on brokenness and the response on reparation. The work is filtered and guided through my background in traditional woodworking and furniture design. A lifetime love of comic books, storytelling, and illustration refuses silence, and it escapes in bursts as I work intuitively through design and material. A newly discovered love of writing finds meaning in that intuition. It’s impossible, even irresponsible, for me to notice and question the brokenness around me without questioning the brokenness within me. It’s cyclical. The noticing becomes self-examination; the response becomes self-discovery. By leaving my surroundings in a more secure, joyful state than I found them, I am assured of the following: They have been revived; given the opportunity to thrive once more in my absence. I am leaving better too.

The Aurignacian is a contentious time period in paleoanthropology. The myriad social changes which accompany the Upper Paleolithic transition have often become associated with the physical tools which Aurignacian people left behind. One result of this is the current tendency of professionals to use blade technology as an indicator of "modernity," rather than examining how changes accompanying the Upper Paleolithic transition made blades a useful adaptation. Of particular importance is the fact that the adoption of blades coincides with a long distance shift in the system used to procure and transport the lithic raw materials. This suggests that before we can use blades to answer anthropological questions about the Aurignacian, we need to establish the relationship between blade production and the acquisition of exotic raw materials. This dissertation combines an analysis of the lithic collection from the French archaeological site of Abri Cellier with the experimental fracture of lithic raw material samples in order to examine the impact of raw material quality on Aurignacian blade production. The analysis of the assemblage from Abri Cellier demonstrates that Aurignacian blades manufactured on exotic materials were of higher quality than those produced locally. The experimental fracture of raw material samples reveals that the differences in the quality of the exotic and local materials do not sufficiently account for the differences in the quality of the blades produced on them. This implies that the differential transport of high quality final products accounts for the increased quality of exotic blades at Abri Cellier. This research examines a number of new ways to evaluate quality in the archaeological record. More importantly, however, it firmly demonstrates that the acquisition of long distance raw materials was not a prerequisite for blade production in the Perigord. This work will conclude by arguing that blades played a role in increasing the maintainability of a hafted toolkit geared towards meeting the requirements of an increasingly mobile and collaborative Aurignacian population.

No description available.

There is an in-between space during the act of seeing. The in-between space lies on the spectrum of the reality in front of us and what our brain tells us. It is within this suspended moment an individual can experience an unaltered and unaffected vision. While this moment is fleeting, it defines the highest peak of personal experience. It is my belief no two people will ever experience the same vision during this suspended time. And after it passes, the sigh/vision can never be the same. We are constantly bearing witness to the inexpressive, and this fleeting moment is something in which we should all revel.

The purpose of this thesis is to investigate the effects of a designerly approach to data analytics. The research was conducted during the Interaction Design Master program at Malmö University in 2017 and follows a research through design approach where the material driven design process in itself becomes a way to acquire new knowledge. The thesis uses big data as design material for designers to ideate connected products and services in the context of smart city applications. More specifically, it conducts a series of material studies that show the potential of this new perspective to data analytics. As a result of this research a set of designs and exercises are presented and structured into a guide. Furthermore, the results emphasize the need for this type of research and highlights data as a departure material as of special interest for HCI.

After World War II in the United States, the household refrigerator and freezer became interwoven into a domestic reality defined by consumption, mechanical innovation, and a tension between spatial isolation and cultural interconnectivity. This thesis positions narrative Hollywood cinema, television and print media as the dominant sites where the refrigerator and freezer’s social identities were formed and negotiated. These productions employ the devices to explore postwar family gender roles, the influence of culture industries and consumer economies within the home, and technological fantasies and fears. They also illustrate a fertile conversation between household media technologies and kitchen accessories. As a result, viewing the refrigerator and freezer through film and television representations substantially alters existing conclusions over who interacted with the objects on an everyday basis, and their effect for a culture increasingly reliant upon appliances to provide basic human needs and generate a satisfying, entertaining lifestyle. / text

The aim of this thesis is to contribute to the understanding of ancient Egyptian kinship in the First Intermediate Period and Middle Kingdom (ca 2150–1650 BCE) by exploring how forms of relatedness were displayed in the monumental record. Kinship and marriage are contextually driven sociocultural phenomena that should be approached from the actors' perspective; such an approach can achieve some insight into emic notions of kinship, because monuments were integral to society and contributed to perpetuating and sustaining its fabric. The introduction (chapter 1) presents the theoretical background on which the thesis is based, namely the notion of kinship as process, where relationships can be constructed and reconstructed throughout one’s life. In addition, it provides a working definition of 'kin group', an analytical category that is taken as the primary unit of social analysis that can encompass several ways of being related. Chapter 2 offers a discussion of kinship terminology in the First Intermediate Period and Middle Kingdom. The focus is less on basic kinship terms than on the little understood terminology for kin groups and how these were presented in the written record. Chapter 3 treats stelae, which constitute the core corpus of material for the thesis. Stelae present a variety of images of kin groups and, moreover, they should be considered within the larger units of which they were part. Many of these stelae are unprovenanced but have been attributed to Abydos. At this site, memorial chapels have been identified archaeologically, and some stelae have been found in association with them. Thus, the site offers a materialisation of constellations of relationships. Possible reconstructions of such chapels – one from Saqqara and two from Abydos – are presented in chapter 4, and the impact they may have had on the social memory of visitors is assessed. Display, presence, and performance were some of the ways in which the social role of those groups was communicated. Chapter 5 is concerned with how change and time may be represented in apparently static objects. On the basis of the model of the developmental cycle of domestic groups first introduced by Meyer Fortes, the dynamism of the social fabric is explored through three case studies of groups at different stages of their developmental cycle. The strategies of survival can be seen pervasively in the monumental record, allowing for a glimpse into time and change in kin groups. The conclusion (chapter 6) offers a holistic approach to the material presented in the thesis, emphasising the ways in which the different theoretical approaches proposed intertwine with the material.

Människor förbrukar så mycket resurser att natureninte hinner med att återställa sig och där medförsvinner material allt mera. Det bästa vore om vimänniskor enbart använde oss av material som förbrukadesi samma takt som naturen kan återställa dei.Detta designprojekt fokuserar på Bois Durci, pådess tillverkning och användning. Materialet ärgjort av blod och sågspån och var tillgängligt på1800-1900-talet och försvann när bakeliten kom. Detsägs att materialet är bakelitens fader. I arbetet harjag samarbetat med ett företag från Torsåker i centralaSverige och arbetet utefter deras koncept somgrundar sig i att enbart använda sig av råvaror inomen femmilsradie.Arbetet har utgått från frågeställningen ”Kan BoisDurci tillverkas inom en femmilsradie och hur kanjag som designer ta mig an materialet?” Att användasig av en femmilsradie med utgångspunkten frånTorsåker var inte ett problem, det var enkelt att få tagi både blod och sågspån. Mina tankar på hur jag skata mig an materialet utgår mycket från blodet då detär okänt för många i produktsammanhang. Jag togreda på vad jag och företaget kände inför blod genomatt duscha kroppen i det och fick därmed även andrasreaktioner av foton och film från händelsen. Skissernautgick ifrån vad blod är och vad det betyder ochblev sedan tre utvecklade koncept.Arbetet resulterade i förvaringsaskar där konsumenternahar möjlighet att förvara värdefulla ting. Förvaringenska symbolisera vår kropp med en ask iBois Durci som står för vårt blod, ett skyddande locki skinn som står för vår hud som omsluter kropp ochdet värdefulla som läggs i står för hjärtat.