This practice-led research project explores English and French sentimental jewellery of the Victorian period. ‘Sentimental jewellery’ or ‘message jewellery’ denotes jewellery created to function as a tangible expression of feeling between donor and recipient, mediated through complex narratives relating to its exchange. These artefacts codify emotion through use of complex visual languages, employing the symbolic and coded use of gems, human hair, emblems, words and wordplay. The research has expanded to encompass memorial garments known as ‘widows weeds’. The aims of the research have been threefold: firstly, to add to understanding and interpretation of aspects of Victorian sentimental jewellery and associated craft practices; secondly, to explore the metaphors and narratives inherent within them; thirdly, to test the visual and technical possibilities of knowledge thus gained to address human feeling through art. Outcomes take the form of a body of new artwork and a written thesis, which are designed to be mutually informing. Together, they articulate my response to the project’s central question: can consideration of the ‘grammar of sentiment’ at work in Victorian sentimental jewellery yield new possibilities, through fine art practice, for communicating love and loss in the 21st century? The four artworks that are a main output of the research take the forms of: REGARD:LOVEME, an artist’s book exploring gem codes and wordplay; Plocacosmos, a set of hairworking trials; The Cyanotypes, which reflect upon the materiality and aesthetic of the amatory locket; and Widows Weeds, a large format photographic installation, which considers the materiality and lineage of mourning cloth. Collectively, they explore the typology of the sentimental artefact through development of text/image vocabularies that are conceived as providing a ‘grammar of sentiment’ through which to articulate aspects of human feeling. It is this exploration that constitutes my main contribution to knowledge.

Non-fiction film shares a long and relatively uncharted history with the museum. Today, filmmaking is a widespread yet critically neglected area of modern museological practice. This practice-based PhD situates itself within these critical gaps to examine the knowledge producing potential of film archives and film practice at the Manchester Museum. Its primary historical sources are a group of taxidermy objects at the Manchester Museum, an archive of 16mm acetate films at the North West Film Archive and a collection of travel journals at Cheshire Archives and Local Studies. These diverse collections were generated by Maurice Egerton, the 4th Baron of Tatton in Cheshire during his travels in Africa in the first decades of the twentieth century. This thesis brings all three together for the first time since their moment of production. These collections recur throughout the thesis as I ask how film archives can complicate and enrich our understanding of collections and how filmmaking practice might continue to bring new types of knowledge into the museum and archive. Two research films are submitted with and discussed within the thesis. The first, 'Living Worlds at the Manchester Museum', adapts observational methods from visual anthropology to record objects and staff during the re-display of the mammal gallery at the Manchester Museum in 2011. The second, 'Articulating Archives' is the result of a creative collaboration in 2014 with Year 8 secondary school students and the institutions and archives named above. Within the production and analyses of these films I draw on diverse critical sources to suggest that film can illuminate properties of materiality, embodied knowledge and performed engagement that textual accounts fall short of capturing.

Made available in DSpace on 2016-03-15T19:21:46Z (GMT). No. of bitstreams: 1 Turna Beck.pdf: 10326392 bytes, checksum: fdcb8d1f815aecd04b62aec2a61050e8 (MD5) Previous issue date: 2011-08-25 / Fundo Mackenzie de Pesquisa / This dissertation addresses, in its first part, the practice-based research problems in the academic research s architectural area. The purpose is to verify in what proportion research methods, that evolve non-textual analysis process, show up and to interpret them as academic elements of argumentation. The intention is to contribute to the reflection on academic knowledge production and its communication in practice-based areas X required patterns in the academic context. To set a boundary to this research, were analyzed Brazilian academic work (theses and dissertations) attended by about design methods and / or visual approach of the architectural work of Frank Lloyd Wright. Through these studies, a gap was identified: the lack of a deeper iconographic analysis about the influence of the Japanese art and architecture in the North American architect work. The second part of this dissertation, therefore, presents and emphasizes the role of images when the Japanese culture resonance on Frank Lloyd Wright's work is approached. The purpose of this effort has two-fold: the first one is to illustrate and to emphasize the importance of the visual or non-textual material employment, in the academic argumentation construction in the architectural area, which purposes are, for example, to detect or discuss projectual influences. The second intention is the contribution to supply the gap mentioned before, which is, the little attention given by Brazilian academic works about Japanese art s influence on Wright s work. The analysis of the academic works has helped to a better comprehension of which elements and resources, and how they must be employed in an academic research that has the practice-based characteristics. The construction of the exercise in the second part of this work uses the association of text and image, pointing, this way, to evidences that, if the use of non-textual resources, sometimes may be essential to the substantiation of an argumentation, on the other hand, this same argumentation cannot does without the text to be clearly enounced. / Esta pesquisa aborda, em sua primeira parte, a problemática da prática projetual na produção acadêmica na área de arquitetura. O objetivo é verificar em que medida comparecem métodos de pesquisa ligados a processos não textuais de análise e ponderar sobre seu papel como elementos de argumentação acadêmica. A intenção é contribuir para a reflexão sobre produção de conhecimento acadêmico e sua comunicação nas áreas de prática projetual X padrões exigidos no contexto acadêmico. Para limitar o âmbito da pesquisa foram analisados trabalhos acadêmicos brasileiros (teses e dissertações) que contassem com métodos projetuais e/ou visuais na abordagem da obra arquitetônica de Frank Lloyd Wright. Ao proceder com as leituras desses trabalhos foi identificada uma lacuna: a ausência de análises iconográficas mais aprofundadas sobre a ressonância da arte e arquitetura japonesa na obra do arquiteto norte-americano. A segunda parte deste trabalho, portanto, apresenta e enfatiza o papel das imagens quando se fala sobre a ressonância da cultura japonesa na obra de Wright. O objetivo deste esforço tem dupla intenção: a primeira é ilustrar e enfatizar a importância do emprego de material de natureza visual, e não-textual, na construção de argumentações acadêmicas na área de arquitetura, que visem, por exemplo, detectar ou discutir influências projetuais. A segunda é a contribuição para suprir a lacuna identificada acima, qual seja, a pouca atenção dada pelos trabalhos acadêmicos brasileiros sobre Frank Lloyd Wright à ressonância da arte japonesa em sua obra. A análise dos trabalhos acadêmicos buscou contribuir para a melhor compreensão da dinâmica entre os elementos e recursos textuais e não-textuais na elaboração da argumentação acadêmica. A construção do exercício na segunda parte do trabalho utiliza a associação de texto e imagem, apontando assim, para efeito desta investigação, indícios de que se a utilização de recursos não-textuais por vezes se mostra essencial na substanciação de uma argumentação, por outro lado, esta mesma argumentação não pode prescindir do texto para ser claramente enunciada.

Made available in DSpace on 2016-03-15T19:22:00Z (GMT). No. of bitstreams: 1 Andraci Maria Atique.pdf: 21482689 bytes, checksum: 6ee126ec8d344ee9185922f26d0bfd47 (MD5) Previous issue date: 2013-05-02 / The goal of this dissertation is to contribute to the public awareness with regards to the production and communication of academic knowledge in the field of design process, as well as present examples on how this type of work is being conducted in Brazil. It takes into consideration, the speculation on the validity of employing non-textual elements such as images, mock-ups, diagrams and other nontextual resources which are commonly used in this practice. The methodology in this research involved the analysis, both individually and comparatively, of eight scientific research projects in the area of design process which were conducted under the Architecture and Urbanism Graduate Program at the University of São Paulo and are available in the library of the School of Architecture and Urbanism FAUUSP - at the same university. These analyses are presented in the form of summaries and comparison tables. The conclusion, considering all the different characteristics found in these research projects which relate to their goals, methods, the text/image ratio and iconographic resources used therein, is that they all respond the academic research practice and effectively standards contributing to the production of knowledge in the area of design process in architecture. / Esta dissertação busca contribuir para a reflexão sobre a produção de conhecimento acadêmico e sua comunicação em áreas de prática projetual, bem como expor os modos como esse trabalho vem sendo encaminhado no Brasil. Aborda, dentre outros fatores, a discussão da validade do uso de elementos não textuais, como imagens, desenhos, diagramas e demais elementos que formam parte dessa prática. A metodologia desta pesquisa envolveu a análise de oito trabalhos acadêmicos em áreas de prática projetual, individual e comparativamente, desenvolvidos no âmbito de Programas de Pós-Graduação em Arquitetura e Urbanismo brasileiros e disponíveis no acervo da Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo FAUUSP. Estas análises são apresentadas em forma de fichas e quadros comparativos. Conclui-se então, considerando as diferentes características encontradas nesses trabalhos com relação aos seus objetivos, métodos, percentual de texto/imagem e recursos iconográficos utilizados, que todos eles se encaixam nos moldes do rigor acadêmico e contribuem para a produção de conhecimento na área de processo de projeto em arquitetura.

Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself. This Ph.D. explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice. A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too. It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself. One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer. Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers. It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2018-07-03T19:07:00Z No. of bitstreams: 2 Dissertação - Hugo Macêdo Serrão Moreno - 2018.pdf: 3848431 bytes, checksum: 6b579e719a578578a7fbf3325b5a9bdd (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-07-04T12:31:14Z (GMT) No. of bitstreams: 2 Dissertação - Hugo Macêdo Serrão Moreno - 2018.pdf: 3848431 bytes, checksum: 6b579e719a578578a7fbf3325b5a9bdd (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-07-04T12:31:15Z (GMT). No. of bitstreams: 2 Dissertação - Hugo Macêdo Serrão Moreno - 2018.pdf: 3848431 bytes, checksum: 6b579e719a578578a7fbf3325b5a9bdd (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-06-06 / Outro / The purpose of this paper is to discuss aspects of artistic research recommended by Marcel Cobussen (COBUSSEN, 2007) relevant to musical artistic creation and clarinet performance, especially the relation between clarinet and clarinetist. It is intended to discuss this relation beyond the traditional modern framing of the subject/object relationship, inserted in a poetic context. We consider it is important to launch a critical view on the artistic knowledge produced inside universities, and to reflect about questions of truth from the poetic dimension. To this end, we use Heidegger’s ontological statute as an overcoming exclusivity of world relations and its consequences in relation to the limits imposed by science in the production of knowledge. This limitation is consolidated through the dissociation between earthman and the world; body and soul; intelligibility and sensitivity in relation to an artistic approach. More than a scientific limit, such dissociation ratifies the intramundane and teleological sense of the Western man from the perspective of the Cartesian modern conception. Starting from an artistic perspective, poetic – creative –, we investigated the the happening of the clarinetist performance. However, we will not think about that relation as an isolated and closed event. Furthermore, we will not use concepts of musical criticism or aesthetics. In a poetic approach, Art claims an immediate and singular manifestation, not by parts or representations. These representations relate to the Work through rational mediation, as in the theory of knowledge. Our investigation proceeded from relations of interpretation since the immediatism of the senses (FOGEL, 2007). This conjunction of relationships is arranged in a sense beyond or below Cartesian objectivity. The intention of poetic production is the unveiling of the work – Aletheia. Therefore, we produced two recitals with pieces by Brazilian composers in which the clarinetist’s performance displays a sensitive and cohesive manifestation working in its own sense, which is performance as a factor intrinsic to the work of art. In this regard, the truth of a work is the process of manifestation of its own sense. After all, a work only exists with its performance, which is a part of the work. The unveiling of a work, according to (HEIDEGGER, 2010), manifests in the gap of work, art and artist. This gap as well as the relations established in the course of this research turns in results impregnated in the interpretation itself. About the Tripartite’s relationship in the work of art, according Heidegger, we perceive that the artist experiences a series of relations still not much discussed, because in general there is favoring of a technical and analytical understanding of the performance and little is spoken of the artistic experience. / O presente trabalho tem o objetivo discutir aspectos da pesquisa artística preconizada por Marcel Cobussen (COBUSSEN, 2007), pertinentes à criação artística musical e à performance à clarineta, especialmente no que se refere à relação entre a clarineta e o clarinetista. Pretendemos aqui discutir tal relação para além do enquadramento moderno tradicional da relação sujeito/objeto, inserida num contexto poético de investigação. Entendemos ser importante lançar um olhar crítico sobre a questão da produção do conhecimento artístico dentro da academia, além de refletir sobre a questão da verdade advinda desde a dimensão poética. Para tanto, compartilhamos do estatuto ontológico Heideggeriano como superação da exclusividade das relações de mundo e suas consequências no que diz respeito aos limites impostos pela ciência na produção de conhecimento. Tal limitação consolida-se por meio da dissociação no homem de terra e mundo; corpo e alma; inteligibilidade e sensibilidade, em relação ao trato artístico. Mais que um limite científico, esta dissociação ratifica a lida intra-mundana e teleológica do homem ocidental desde a perspectiva da concepção moderna cartesiana. A partir da perspectiva artística, poética – criativa –, investigamos o acontecer da performance do clarinetista. No entanto, não o fazemos considerando a relação que aí ocorre como fenômeno isolado e fechado, tampouco a partir do pré-conceito da crítica estética ou como resultado de aná-lise predeterminada. Numa abordagem poética, a arte reivindica sua manifestação imediata e singular, não por partes ou por representações. Tais representações só estabelecem relação com a obra por mediação racional, como na teoria do conhecimento. Construímos nossa investigação a partir das relações dispostas na interpretação desde o imediato dos sentidos (FOGEL, 2007), con-juntura de relações além, ou aquém, da objetividade cartesiana. O sentido da produção poética é o des-velamento da obra – Alétheia. A partir desta perspectiva, foram produzidos dois recitais com obras de compositores brasileiros, nos quais a interpretação do clarinetista emerge como manifestação sensível e coesa à obra, instaurando um sentido próprio, ou seja, a interpretação como fator inerente à obra de arte. Neste sentido, a verdade da obra é o processo de manifestação de um sentido próprio em sua realização. Afinal, a obra só é com a interpretação, esta faz parte do ser da obra. O des-velamento da obra, segundo Heidegger (HEIDEGGER, 2010), se manifesta na abertura de cada elemento envolvido no processo: obra, arte e artista. Esta abertura bem como as relações por ela dispostas empreenderam no caminhar desta investigação resultados impregnados na própria interpretação. Sob a relação tripartite na obra de arte apontada por Heidegger, percebemos que o artista experimenta uma série de relações ainda pouco discutidas, pois em geral há um favorecimento de uma compreensão técnica e analítica da performance e pouco se fala da ou pensa a experiência artística.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-06-06T11:32:02Z No. of bitstreams: 2 Dissertação - Danielle Myriam Dumont - 2017.pdf: 77724476 bytes, checksum: ef1be1f05986904d14a0f33b05885d8f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-06-06T11:33:15Z (GMT) No. of bitstreams: 2 Dissertação - Danielle Myriam Dumont - 2017.pdf: 77724476 bytes, checksum: ef1be1f05986904d14a0f33b05885d8f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-06-06T11:33:15Z (GMT). No. of bitstreams: 2 Dissertação - Danielle Myriam Dumont - 2017.pdf: 77724476 bytes, checksum: ef1be1f05986904d14a0f33b05885d8f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work is a practice-based research which consists in bonding a poetic-philosophical reflection about the interpretation of mad scenes in opera and the performance of the spectacle Hysteria: an operistic madness. As a method, this work intends to make poetics and interpretation as a path to performance and, therefore, as a path to artistic knowledge. Thereunto, is necessary to comprehend the interpreter as a co-creator, for while the interpreter brings the artwork to the present moment, any possible results of the interpretation are always measured by one’s senses and comprehension, by one’s manner to feel-think, by one’s body and soul. The human being’s way to feel and think is always non-transferable and authentic. The authenticity, that is, the originality of permitting to feel and think, and therefore, to be, is madness. Apart from a common-sense behavior while install authenticity of human being, madness is a call to immerse in a interpretive path, the poetical making of oneself: it is a path to life. The singer, as interpreter, installs a world. While one lends one’s voice to the muses, the singer creates, measuring oneself by the divine. Installing oneself, becoming authentically isn’t just a divine act of the human being, but also a madness act. Madness is always transgression of a pattern to a original and authentic way of being. By the way, women are the culminating figure of transgression and madness: they are the hysterical and disobedient ones, at the same time they are the loving mothers and life generators in body dimension. The feminine body is poetic. In it resounds the poetic voice, the creating voice. It is from the relation between madness, feminine, poetic voice and performance that the spectacle Histeria is born. This operistic solo spectacle, divided in two acts, tells a story of a feminine trajectory in madness and of a poetic birth of the character Lúcia. In a completely original composition of plot and vocal-scenic performance, the spectacle groups own texts??, other author’s texts and operas’ mad scenes arias from several composers: Ophelia’s mad scene (from Ambroise Thomas’ Hamlet), À vos jeux, mes amis... Partagez-vous mes fleurs!… Pâle et blonde; the great Lucia’s aria (from Gaetano Donizetti’s Lucia di Lammermoor), Il dolce suono... Spargi d’amaro pianto; the aria Ah! non credea mirarti (Vincenzo Bellini’s La Sonnambula); O rendetemi la speme... Vien, diletto…, from Elvira (I Puritani, also Bellini’s); Ombre légère (from Giacomo Meyerbeer’ Dinorah or Le Pardon de Ploërmel); and Glitter and be gay (Leonard Bernstein’s Candide). Hysteria is the feminine creative power flowering through voice and body. / Este trabalho é uma pesquisa artística que consiste na conjugação entre uma reflexão poético-filosófica acerca da interpretação de cenas de loucura em ópera e a performance do espetáculo Histeria: uma loucura operística. Enquanto método, procura-se fazer da poética e da interpretação um caminho para a performance e, portanto, para o saber artístico. Para isso, é preciso compreender o intérprete enquanto co-criador, pois enquanto nele a obra se apresenta, qualquer resultado possível de sua interpretação será sempre na medida de seus sentidos e de sua compreensão, de seu sentir-pensar, de seu corpo e de sua alma. O sentir e o pensar do homem são sempre intransferíveis e autênticos. A autenticidade, isto é, a originalidade de se permitir sentir e pensar, e portanto, ser, é também loucura. Enquanto é distanciamento de um padrão e um instaurar autêntico do ser humano, a loucura é convite para o caminho interpretativo, para o poetizar-se; é caminho para vida. O cantor, no papel de intérprete, é também instaurador de mundo. Enquanto empresta sua voz às musas, ele cria, mede-se com o divino. Instaurar-se a si mesmo, vir-a-ser, autenticamente, é não só um ato de divinização do próprio ser humano, mas também um ato de loucura. A loucura é sempre transgressão do padrão para um modo de ser originário e autêntico. As mulheres, por sua vez, são a figura culminante da transgressão e da loucura: elas são as histéricas e desobedientes, ao mesmo tempo que são as mães amorosas e geradoras da vida no corpo. O corpo feminino é poético. Nele ressoa a voz poética, criadora. É da relação entre a loucura, o feminino, a voz poética e a performance que nasce o espetáculo Histeria. Este espetáculo operístico solo, dividido em dois atos, conta a trajetória feminina da loucura e do vir-a-ser poético da personagem Lúcia. Numa composição de enredo e performance cênico-vocal completamente original, o espetáculo reúne textos próprios, de outros autores e árias de cenas de loucura em ópera de diversos compositores: a cena de loucura de Ofélia (da Ópera Hamlet, de Ambroise Thomas), À vos jeux, mes amis... Partagez-vous mes fleurs!… Pâle et blonde; a grande cena de Lucia (da Ópera Lucia di Lammermoor, de Gaetano Donizetti), Il dolce suono... Spargi d’amaro pianto; a ária Ah! non credea mirarti (La Sonnambula, de Vincenzo Bellini); O rendetemi la speme... Vien, diletto…, de Elvira (I Puritani, também de Bellini); Ombre légère (Dinorah ou Le Pardon de Ploërmel, de Giacomo Meyerbeer); e Glitter and be gay (Candide, de Leonard Bernstein). Histeria é o florescimento da potência criativa feminina, por meio da voz e do corpo.

Made available in DSpace on 2016-03-15T19:30:48Z (GMT). No. of bitstreams: 1 Marcelo de Souza Bispo.pdf: 13963819 bytes, checksum: 4a31dbccf26b40ed671961b264b93b27 (MD5) Previous issue date: 2011-06-16 / Fundo Mackenzie de Pesquisa / The demands on organizations for innovation and change in order to survive in a hyper-competitive environment suggest new ways of thinking "what is" to learn and to know, that seems to go beyond what is available in books, textbooks, classrooms and companies training rooms. We must try to understand how people learn from each other in everyday life,from the social interactions that transcend the formal processes used by organizations. This effort requires looking at organizations as symbolic fields in which people live in constant interaction mediated by language building meaning to their everyday activities (HATCH;YANOW, 2003). According to this perspective it is possible to understand the organization as a place of learning and knowledge generation, permeated by negotiation and continued exchange among its members and artifacts, especially the technological ones, which share the same environment (BRUNI, 2005; BRUNI; GHERARDI; PAROLIN, 2007, SUCHMAN et al., 1999). Valtonen (2009) points out that micro and small tourism enterprises have a range of possibilities to be investigated and epistemological qualities that enable relevant research, unlike what occurs predominantly in the research on the Administration field, where such organizations are seen as displaying a "knowledge vacuum" or being unable to adopt efficient systems of knowledge management. In this sense Valtonen (2009) points out that small companies in the tourism sector contribute to a distinct way of knowledge generation,particularly when the focus is on a more practical knowledge. This research adopted as a guiding question how the process of collective learning of using information and communication technologies, particularly the Internet, while labor practice in a travel agency occurs. The main objective of the research was to understand the process of collective learning of technology use as a practice in travel agencies. In this perspective, Practice-based Studies (PBS) is seen as an option to debate, discuss and understand the collective and nonformal learning processes in organizations (NICOLINI; GHERARDI; YANOW, 2003;GHERARDI, 2001, 2006). To Gherardi (2006) such an understanding allows working with the phenomena in a situated form, whereas the temporality and historicity have significant value to a better understanding of social worlds. Also according to the author, this way of thinking about organizations value what she regards as knowing-in-practice , i.e., that knowledge is situated as a social, human, material, aesthetic, emotional and ethical process.Ethnomethodology was used as an empirical research strategy for conducting this study which was carried out in three travel agencies belonging to the same company during a period of seven months. The main findings concern to how the use of technology as a practice influences the organizing, sales and management processes inside the researched company and the main conclusion is that collective learning is not the extrapolation of learning at the individual level / As demandas sobre as organizações por inovação e mudança para sobrevivência no ambiente hiper-competitivo sugere novas formas de pensar o que é aprender e conhecer que parecem ir além do que está disponível em livros, manuais didáticos, salas de aula e treinamentos nas empresas. É preciso tentar entender como as pessoas aprendem umas com as outras no cotidiano, a partir das interações sociais que transcendem os processos formais utilizados pelas organizações. Este esforço exige pensar as organizações enquanto campos simbólicos nos quais as pessoas convivem em constante interação, mediadas pela linguagem construindo significado e sentido para suas atividades cotidianas (HATCH; YANOW, 2003).Segundo esta ótica é possível entender a organização como um espaço de aprendizagem e geração de conhecimento, permeado de negociação e troca contínua entre seus membros e os artefatos, especialmente os tecnológicos, que compartilham de um mesmo ambiente (BRUNI,2005; BRUNI; GHERARDI; PAROLIN, 2007; SUCHMAN et al., 1999). Valtonen (2009)destaca que as micro e pequenas empresas de turismo possuem uma gama de possibilidades para serem pesquisadas e, para a autora, estas organizações possuem qualidades epistemológicas que possibilitam pesquisas relevantes, ao contrário do que ocorre predominantemente nas pesquisas na área de Administração em que estas organizações são vistas como vácuo de conhecimento ou incapazes na adoção de sistemas eficientes de gestão do conhecimento. Neste sentido Valtonen (2009) aponta que as pequenas empresas do segmento turístico contribuem para uma forma distinta da geração do conhecimento,particularmente, quando o foco está em um conhecimento prático. A presente pesquisa adotou como pergunta norteadora: como ocorre o processo de aprendizagem coletiva do uso de tecnologias de informação e comunicação, em especial a Internet, enquanto prática de trabalho em uma agência de viagens? O objetivo principal da pesquisa foi compreender o processo de aprendizagem coletiva do uso da tecnologia como prática em agências de viagens. É nessa perspectiva que os Estudos Baseados em Prática (EBP) apresentam-se como opção para debater, discutir e compreender os processos de aprendizagem coletivos e não formais nas organizações (NICOLINI; GHERARDI; YANOW, 2003; GHERARDI, 2001,2006). Para Gherardi (2006) tal entendimento possibilita trabalhar com os fenômenos de maneira situada, considerando que a temporalidade e a historicidade têm valor significativo para uma melhor compreensão dos mundos sociais. Ainda segundo a autora, esta forma de pensar as organizações valoriza o que ela coloca como knowing-in-practice, ou seja, significa que o conhecimento é situado como um processo social, humano, material, estético, emotivo e ético. A etnometodologia foi utilizada como estratégia de investigação empírica para a condução deste estudo que foi realizado em três agências de viagens de uma mesma empresa durante o período de sete meses. Os principais achados foram no sentido de como o uso da tecnologia como prática influencia os processos de organizing, vendas e gestão da empresa pesquisada e a principal conclusão é que a aprendizagem coletiva não é a extrapolação da aprendizagem no nível individual.

An important challenge for physical education teachers is to find strategies for the implementation of health education in the school subject physical education and health (PEH). The overall aim of this thesis has been to develop and explore the implementation of a pedagogical, practice based teaching-learning model in PEH. Focus of the study has been to promote students' understanding of health with aerobic condition, and its impact on health, as the specific object of learn-ing. The concept of Health Literacy has pervaded the entire project, both in the design of the model and in the analysis of students' description of their experi-ence and knowledge development. One upper secondary school class (n=32) was chosen for this action-based study. The implementation of the pedagogical model was designed as a student task-oriented interactive model. The educational outcomes of the model derived from tests and questionnaires were examined analyzed with statistics and con-tent analyses, as presented in article I and with phenomenographic analyses of student reports presented in article II. In focus for the analysis was how the object of learning, the phenomenon that the students encountered were de-scribed, experienced, conceptualized and understood. The design of the model supported an active processing of knowledge and stu-dents' ability of critical self-reflection within the framework of health literacy. To better integrate health in physical education, we need to both broaden stu-dents' way of questioning, and challenge their ways of constructing knowledge in (physical) health. / Forskningslinjen Utbildning

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