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Utgångspunkten för denna kandidatuppsats är att den byggda miljön påverkar våra liv och vårt handlingsutrymme. Den byggda miljön kan möjliggöra eller begränsa olika typer av aktiviteter. Leken är en av de mest grundläggande aktiviteterna i vår sociala utveckling och är en del av den sociala interaktionen med andra människor. Leken förknippas ofta med barn, men leken förkommer och är viktig för alla ålderskategorier.Syftet med studien är att ta reda på hur den byggda miljön kan skapa möjligheter för leken att etableras. Vi undersöker om man kan planera och styra leken och vad leken kan tillföra i ett miljonprogramsområde.Många av de miljonprogramsområden som byggdes i Sverige under 1960- och 70-talet är ofta problemtyngda och den byggda miljön lider av ett eftersatt underhåll. Området Gårdsten i Göteborg är ett område som genomgått ombyggnadsprojekt med inriktning på hållbarhetsfrågor, med de sociala frågorna i huvudfokus. Vi har genomfört en fallstudie av området och genom analys utvärderat hur den byggda miljön skapar förutsättningar för lek. / The basis for this candidate essay is that the built environment affects our lives and our freedom of action. The built environment can facilitate or limit different types of activities. Play is one of the most basic things in our social development and is part of the social interaction with other people. The play is often associated with children, but the play is as important for all age groups.The purpose of this study is to investigate how the built environment can support the opportunity for play to establish itself in one place. We investigate to what extent you can plan and control the play and what play can supply to a Million Programme area.Many of the Million Programme areas that were built in Sweden during the 1960s and 70s are often problematic and the built environment suffers from deferred maintenance. The area Gårdsten in Gothenburg is an area that has undergone renovation projects with a focus on sustainability issues, with social issues in the main focus. We have conducted a case study of the area and through analysis evaluated how the built environment can create conditions for play.

The Scottish Curriculum for Excellence is framed, without visible theory, in language embedding the value of children’s experiences. In association with a policy encouraging practitioners to develop healthy home/school links, early childhood practitioners develop pedagogical practices in support of this curricular language of experience. One aspect coming into focus is children’s experiences in general rather than only those which take place within institutional walls. One way children introduce their out-of-school experiences into classrooms is by voluntarily bringing treasured objects from home to early childhood setting doors. By jointly engaging with John Dewey’s view that worthwhile educational experiences are developed through interactions and continuities, the pedagogic practices of twelve early childhood practitioners and the view that each child-initiated object episode could be viewed as part of a child’s experience this research aims to better understand practitioners’ development of educational experiences through their responses to the objects forty children voluntarily brought to school. In support of this aim three research questions focused on 1) what objects children brought? 2) what practitioners said and did with the objects? and 3) what practice similarities and differences were visible across two consecutive age groups: 3-5 year olds in a nursery (preschool) and 5-7 year olds in a composite Primary 1/2 class (formal schooling)? During an eight month period in 2009 data were collected by classroom observations, collection of photographic images and practitioner interviews in a government-funded, denominational, early childhood setting in a Scottish village school. Data were analysed for the physical and social properties of children’s objects, practitioner’s pedagogic practices when engaging with the brought-in objects and similarities and differences in object-related classroom behaviours as epitomised in the relationships in each classroom. The findings were that practitioners made use of three main pedagogical practices when engaging with children’s brought-in objects: transforming objects into educational resources, shaping in-school object experiences and building a range of relationships around these objects. While the broad patterns of practice used in both classrooms were similar the details of practice showed underlying framings of children and their futures were different in each classroom. It is argued that what Dewey’s views offer, in the context of these findings, is a theoretical framing of experience that opens new possibilities for practitioner’s individual and group reflections on their current practices and collaborative practice development. His is one of the languages of experience available as practitioners and policy makers around the world grapple with educational questions.

Nous généralisons la dualité de Koszul des algèbres et des opérades aux PROPs. Alors que les opérades sont des objets algébriques qui représentent les opérations à plusieurs entrées et une seule sortie sur les différents types d'algèbres, les PROPs modélisent les opérations à plusieurs entrées et plusieurs sorties agissant sur des structures algébriques telles que les bigèbres et les bigèbres de Lie. Nous introduisons un nouveau produit monoidal qui décrit les compositions entre ces opérations et nous restreignons notre étude à la partie connexe de chaque PROP, que nous appelons "propérade", par analogie avec les opérades. Nous généralisons aux propéades les différents objets homologiques associés aux algèbres et aux opérades comme les bar et cobar constructions, les modules et les propérades quasi-libres. Pour une propérade (resp. un PROP) donnée, nous construisons une copropérade (resp. un coPROP) dual ainsi qu'un complexe de Koszul dont l'acyclicité est un critère qui permet de déterminer si la cobar construction fournit une résolution quasi-libre, appelée modèle minimal, de la propérade (resp. du PROP) de départ. Pour démontrer ce théorème, nous introduisons une graduation supplémentaire qui provient ici des différents foncteurs analytiques engendrés par le produit monoidal. Cette théorie nous permet de définir des notions de "bigèbres" à homotopie près, sur un PROP de Koszul. Cette notion est l'équivalente au niveau des "bigèbres" de celle d'algèbre à homotpie près, qui est très importante en topologie algèbrique.

The Citizenlab is an innovative and dynamic project that aims to empower citizens and foster their active engagement in the democratic process. By creating a modular and welcoming space, the Citizenlab provides a platform for participants to reflect on their role as citizens and explore alternative perspectives on societal issues. The following provides an overview of the essential elements and objectives of the Citizenlab, emphasizing its distinctive approach in promoting citizen participation and fostering critical thinking. The Citizenlab utilizes interactive workshops as a central component, where participants are invited to engage in stimulating discussions and collaborative activities. These workshops are carefully designed to promote an inclusive and participatory environment, allowing individuals from diverse backgrounds to share their ideas and experiences. By incorporating thought-provoking “provotypes,” the Citizenlab encourages participants to challenge prevailing assumptions and envision alternative solutions to complex problems. Ultimately, the Citizenlab aspires to create a more informed, engaged, and empowered society. By promoting critical thinking, community engagement, and active citizenship, the project seeks to inspire individuals to take an active role in shaping their communities and influencing policy decisions. The potential impact of the Citizenlab extends beyond the immediate workshop setting, envisioning a ripple effect that transforms societal attitudes and practices towards a more democratic and participatory future. Through its innovative approach, the Citizenlab holds the potential to redefine the relationship between citizens and public institutions, paving the way for a more inclusive and collaborative society.

Det här examensarbetet genomfördes på ett företag som tillverkar dekor till nöjesindustrin ex. nöjesparker och eventbyråer. I dagsläget tillverkar företaget stillastående dekor, men har en vision att i framtiden bygga in olika sorters rörelser. Frågan de ställer sig är hur? Uppdraget var att nysta i frågan och resultatet är ett introduktionsförslag på hur företaget kan påbörja sitt arbete samt 9 designprinciper för utformning av underhållningsprodukter. Förarbetet innebar en litteraturstudie, benchmarking, intervjuer med andra företag inom underhållningsbranschen samt en analys av uppdragsgivaren och dess förutsättningar. Litteraturstudien visade framförallt hur socialt betingat underhållning är och vikten av att ta hela interaktionen i akt. Ofta skapas en historia runt produkten som steg för steg försöker väcka känslor hos användaren. Högst prioriterade värdeord hos de företag som intervjuades var ”nytt”, ”wow-effekt” och ”den kreativa visionen”. Vanligast återkommande arbetsstrategier var ”förstå användaren”, ”ständigt utvecklas”, ”prototypa” och ”blanda olika tekniker”. Analysen av uppdragsgivaren visade att de anställda hade svårt att ta sig över kunskapströsklar. Detta bottnade framförallt i en paralyserande uppfattning av okunskap och en rädsla för att göra fel. Arbetet fokuserades på att hjälpa detta behov. Introduktionsförslaget, ”kunskapslabbet”, är en arbetsyta där användaren snabbt kan bygga fysiska prototyper. Arbetsytan fungerar som en interaktiv lärobok, de prototyper som byggs sparas och används som utbildande material vid nästa användningstillfälle. Detta blir en cirkulerande inlärningsprocess som innebär att arbetsytan automatiskt expanderar i takt med att företagets kollektiva kunskapsnivå höjs. Konceptet fick framförallt positiv respons för att arbetsytan upplevdes lättillgänglig och inspirerande medan negativ kritik berörde hur dokumentering av ny kunskap skulle uppehållas under en längre tid. / This batchelor’s project was carried out at a company that manufactures decor for the entertainment industry, e.g. amusement parks and event agencies. Currently, the company manufactures stationary decor, but has a vision to integrate different kinds of movement in the designs. The question they ask themselves is how? The objective was to explore this issue and the result is an ”introductory proposal” on how the company can begin its work together with 9 design principles for the design of entertainment products. The preparatory work involved a literature study, benchmarking, interviews with other companies in the entertainment industry as well as an analysis of the client and its conditions. The literature study emphasized how socially conditioned entertainment is and the importance of taking the whole interaction into account. Often a story is created around the product that  step by step tries to evoke emotions in the user. The highest-priority value words of the companies interviewed were ”new”, ”wow effect” and ”the creative vision”. The work strategies most frequently mentioned were ”understand the user”, ”constant development”, ”prototype” and ”mix different technologies”. The analysis of the client showed that the employees had difficulty getting over knowledge thresholds. This was primarily rooted in a paralyzing perception of unfamiliarity and a fear of making mistakes. The project was focused on helping this need. The introductory proposal, the ”knowledge lab”, is a workspace where the user can quickly build physical prototypes. It functions as an interactive textbook, the prototypes that are built are saved and used as material of knowledge the next time they are used. This becomes a circular learning process which means that the workspace automatically expands as the company’s collective knowledge level increases. The concept primarily received positive response connected to that it was perceived as easily accessible and inspiring, while negative criticism was concerned about how the documentation of new knowledge would be retained for a longer period of time.

String diagrams turn algebraic equations into topological moves that have recurring shapes, involving the sliding of one diagram past another. We individuate, at the root of this fact, the dual nature of polygraphs as presentations of higher algebraic theories, and as combinatorial descriptions of "directed spaces". Operations of polygraphs modelled on operations of topological spaces are used as the foundation of a compositional universal algebra, where sliding moves arise from tensor products of polygraphs. We reconstruct several higher algebraic theories in this framework. In this regard, the standard formalism of polygraphs has some technical problems. We propose a notion of regular polygraph, barring cell boundaries that are not homeomorphic to a disk of the appropriate dimension. We define a category of non-degenerate shapes, and show how to calculate their tensor products. Then, we introduce a notion of weak unit to recover weakly degenerate boundaries in low dimensions, and prove that the existence of weak units is equivalent to a representability property. We then turn to applications of diagrammatic algebra to quantum theory. We re-evaluate the category of Hilbert spaces from the perspective of categorical universal algebra, which leads to a bicategorical refinement. Then, we focus on the axiomatics of fragments of quantum theory, and present the ZW calculus, the first complete diagrammatic axiomatisation of the theory of qubits. The ZW calculus has several advantages over ZX calculi, including a computationally meaningful normal form, and a fragment whose diagrams can be read as setups of fermionic oscillators. Moreover, its generators reflect an operational classification of entangled states of 3 qubits. We conclude with generalisations of the ZW calculus to higher-dimensional systems, including the definition of a universal set of generators in each dimension.

Nowadays, the nature of the projects has changed to be unique, uncertain, ambiguous,complex and innovative. It becomes hard to plan in advance the project progress, asdeviations from plans and unpredictable changes occur more frequently. This can bespecifically observed in the software development industry which needs to constantlymeet customers’ rapidly changed requirements. Traditionally, software projects aredeveloped through a plan-driven approach which emphasizes an overall project plan andcontrol process in terms of project management. Recently, this has been challenged byagile approach that focuses on flexibility to quickly meet changing requirements, andthese new agile methods provoked huge interest and got more and more popular andwidely applied especially in IT industry. However, the popularity does not mean theagile methods have advantage over traditional plan-based project management methods.In fact, both methods have own advantages and disadvantages and cannot be fullyreplaced by each other. Therefore, it becomes important and necessary for companymanagement to know how to select a suitable method for the new software developmentproject to get the maximum benefits.The purpose of this study is to describe different project management methods(traditional plan-driven and agile methods) and their various consequences for themanagement of software-development projects. Additionally, a more practical purposeis to suggest on what grounds a choice between methods may be made. Morespecifically, this research aims to provide the possible solution on how to selecttraditional plan-driven or agile project management method for managing a newsoftware development project. The research conducted a qualitative study in a casecompany of IT industry through several semi-structured interviews and questionnaireswith experienced and knowledgeable employees. It started with the analysis andcomparison of traditional and agile project management methods’ characteristics andapplication domains based on two specific examples (PROPS and Scrum) selected fromtraditional and agile project management methods respectively, in order to identify a setof preliminary outstanding characteristics which could be used to help IT company tochoose project management methods for new software development projects. Theempirical data obtained from interviews of case company was investigated to verifythese characteristics based on the literature review, and further adjusted thecharacteristics identification. After going through the whole research process, finallyresearchers identified the most suitable characteristics that were important both intheory and practice to examine on what ground a software development company needsto base the selection of project management methods. These suitable characteristics are:Project Complexity, Communication, Competencies and Requirements, in order to helpselect the best management way for the specific project.

Detta arbete syftar till att undersöka de relationer som uppstår mellan teaterrekvisita, skådespelare och ljudtekniker genom det posthumanistiska perspektivet agentiell realism. Jag utforskar även vilka fenomen som uppstår ur dessa relationer. Vad händer när sensorer implementeras i rekvisitan så att skådespelarna själva kan trigga vissa ljudeffekter från scenen?  För att undersöka detta har jag tagit fram prototyper av teaterrekvisita med sensorer och på så sätt i viss mening gett föremålen en egen röst. Detta bidrar till att de kan delta i dialogen med människorna i en föreställning, samtidigt som samspelet mellan skådespelare och ljudtekniker förändras.  Genom processens olika iterationer har gränsen mellan subjekt och objekt blivit allt mer otydlig, liksom den mellan de olika rollerna. Skådespelaren blir i viss mening ljudtekniker, liksom både rekvisitan och ljudteknikern i sin tur blir skådespelare. / This thesis aims to investigate the relationships between theatrical props, actors and sound engineers through the posthumanistic perspective of agential realism. I also explore the phenomena that emerge from these relationships. What happens when sensors are implemented in the prop in order for the actors themselves to trigger certain sound effects from the stage? To investigate this, I have developed prototypes of theater props with sensors and thus in some sense given the objects a voice of their own. This contributes to them participating in the dialogue with the people in a performance, while at the same time changing the interplay between actors and the sound engineer. Through the different iterations of the process, the division between subject and object has become increasingly unclear, just like the one between the different roles. In some sense, the actor becomes an audio engineer, as both the prop and the audio engineer in turn become actors.