This thesis is about studio habits. Specifically, it considers what happens in practice in the artist's studio and ways in which creative acts have been visualised and disseminated. The chapters of this thesis are organised around views of the studios of four twentieth century painters: Francis Bacon (1908-1994), Lee Krasner (1909-1984), Jackson Pollock (1912-1956) and Agnes Martin (1913-2005). Each of these artists' studio habits has been fundamental to their respective mythologies and the studios they occupied in their lifetimes have inflected discussion of their work. Drawing on critical theories of sexuality, gender and space, this thesis argues that the idea of the artist as a master continues to dominate as an explanation of art-making but that this characterisation is called into question by these four artist's specific practices in the studio. Close readings of the studio habits in these case studies, considered here as a situated negotiation between artist and studio, challenges the idea of mastery that studio-view exhibits and images tend to promote. Notions of mastery are inclined to construct practice as a paradigm between an active artist and passive studio materials and these, in turn, are apt to be read in terms of masculinity and femininity, respectively. Thus, the role of studio artist has tended to privilege a male lead. Therefore, analysing particular performances of masculinity by these artists provides a means to contest reading studio-view images as statements of mastery and the damaging and inequitable connotations this designation implies. Furthermore, this thesis argues that the recent trend to preserve studio material, or to otherwise encompass traces of practice in exhibits, films and photographs, may be correlated with theoretical shifts which took place in latter half of the twentieth century as a response to philosophical losses entailed in the critique of authority and objecthood and the rise of performance and conceptual art practices.

Upper Palaeolithic cave art research has tended to focus on the images themselves, rather than the physical and social circumstances of their production. This dissertation explores and develops new practice-based ways of investigating cave art. A method analysing features of the cave environment, such as light, space and accessibility, internal conditions etc., and how these relate to traces of human activity, is developed and applied to three decorated caves from Upper Palaeolithic in southern France: Marsoulas (Haute-Garonne), Chauvet (Ardèche) and Rouffignac (Périgord). New insights are suggested into the underlying practice of cave art and its significance in Upper Palaeolithic societies. / La recherche l’art rupestre Paléolithique supérieur a eu tendance à se focaliser sur les images elles-mêmes, plutôt que les circonstances physiques et sociales de leur production. Cette dissertation explore et développe des nouvelles formes d’investigation de l’art rupestre basées sur la pratique. Une méthode pour analyser des caractéristiques de l’environnement de la grotte, comme la lumière, l’espace et l’accessibilité, des conditions internes etc., et comment ceux-ci sont associés à des traces de l’activité humaine, est développée et appliquée à trois grottes de l’époque Paléolithique supérieur dans le sud de France: Marsoulas (Haute-Garonne), Chauvet (Ardèche) et Rouffignac (Périgord). Une nouvelle vision est suggérée pour la pratique sous-jacente de l’art rupestre et son importance dans les sociétés paléolithiques.

Este trabalho trata das apropriações e usos do espaço público da Praça da Alfândega, centro de Porto Alegre. Construí minha inserção em campo através da realização de uma performance artística no local - baseada numa linguagem de dança contemporÂnea -, transformada, por um uso especifico, em parte do método etnográfico. A partir das interações ocorridas durante o evento performático ou motivadas por ele, delimitei meu universo de pesquisa: prostitutas, vendedores, catadores de papel, aposentados - enfim, pessoas que ocupam a praça cotidianamente e têm uma relação de identificação com aquele espaço. Assim, iniciei propondo a performance artística que realizara como tema de diálogo com este universo para, em seguida, passar a uma compreensão das dinâmicas que organizam o espaço da praça como um espaço vivido por esses atares. Observando as práticas, performançes e narrativas dos sujeitos, busquei acessar processos de construção das subjetividades na relação com aquele contexto social. A performance enquanto abordagem antropológica permeou todo o trabalho, sendo mobilizada de maneiras e com propósitos diferenciados no decorrer do processo: como base para a estrutura dramatúrgica da performance artistica; enquanto abordagem para dar conta dos aspectos performátivos das ações cotidianas, e como ferramenta analítica, possibilitando a compreensão dos eventos performáticos como arenas reflexivas através das quais pontos de tensão pouco visíveis na vida ordinária eram explícitados. / This research studies how the public space of the Praça da Alfândega - a historic site in the central area of Porto Alegre - is commonty "used" by the local workers and inhabitants, which identify themselves with that space. As an inportant part of the ethnographic method, artistic presentations based in the language of contemporary dance were performed by the author at Praça da Alfândega. Those presentations provided the means to engage in the fieldwork, to interact with lhe locals and to circumscribe the universe of the research: prostitutes, salesmen, paper collectors, pensioners. Through the observation of the practices, performances and narratives present in that specific social context, the study focused in the analysis of the dynamics by which that space is organized by its ordinary occupants and the process of construction of subjectivities, related to the use of that space. The concept of performance was praposed as an anthropological tool, used with different purposes and in different ways throughout the research: as a base to the dramatic structure of the artistic performance, as a perspective from which to observe the performativity related to daily actions and as an analytic device - providing the means to understand social events as refiexive arenas where opaque aspects af the ordinary life are made visible.

Este trabalho trata das apropriações e usos do espaço público da Praça da Alfândega, centro de Porto Alegre. Construí minha inserção em campo através da realização de uma performance artística no local - baseada numa linguagem de dança contemporÂnea -, transformada, por um uso especifico, em parte do método etnográfico. A partir das interações ocorridas durante o evento performático ou motivadas por ele, delimitei meu universo de pesquisa: prostitutas, vendedores, catadores de papel, aposentados - enfim, pessoas que ocupam a praça cotidianamente e têm uma relação de identificação com aquele espaço. Assim, iniciei propondo a performance artística que realizara como tema de diálogo com este universo para, em seguida, passar a uma compreensão das dinâmicas que organizam o espaço da praça como um espaço vivido por esses atares. Observando as práticas, performançes e narrativas dos sujeitos, busquei acessar processos de construção das subjetividades na relação com aquele contexto social. A performance enquanto abordagem antropológica permeou todo o trabalho, sendo mobilizada de maneiras e com propósitos diferenciados no decorrer do processo: como base para a estrutura dramatúrgica da performance artistica; enquanto abordagem para dar conta dos aspectos performátivos das ações cotidianas, e como ferramenta analítica, possibilitando a compreensão dos eventos performáticos como arenas reflexivas através das quais pontos de tensão pouco visíveis na vida ordinária eram explícitados. / This research studies how the public space of the Praça da Alfândega - a historic site in the central area of Porto Alegre - is commonty "used" by the local workers and inhabitants, which identify themselves with that space. As an inportant part of the ethnographic method, artistic presentations based in the language of contemporary dance were performed by the author at Praça da Alfândega. Those presentations provided the means to engage in the fieldwork, to interact with lhe locals and to circumscribe the universe of the research: prostitutes, salesmen, paper collectors, pensioners. Through the observation of the practices, performances and narratives present in that specific social context, the study focused in the analysis of the dynamics by which that space is organized by its ordinary occupants and the process of construction of subjectivities, related to the use of that space. The concept of performance was praposed as an anthropological tool, used with different purposes and in different ways throughout the research: as a base to the dramatic structure of the artistic performance, as a perspective from which to observe the performativity related to daily actions and as an analytic device - providing the means to understand social events as refiexive arenas where opaque aspects af the ordinary life are made visible.

Este trabalho trata das apropriações e usos do espaço público da Praça da Alfândega, centro de Porto Alegre. Construí minha inserção em campo através da realização de uma performance artística no local - baseada numa linguagem de dança contemporÂnea -, transformada, por um uso especifico, em parte do método etnográfico. A partir das interações ocorridas durante o evento performático ou motivadas por ele, delimitei meu universo de pesquisa: prostitutas, vendedores, catadores de papel, aposentados - enfim, pessoas que ocupam a praça cotidianamente e têm uma relação de identificação com aquele espaço. Assim, iniciei propondo a performance artística que realizara como tema de diálogo com este universo para, em seguida, passar a uma compreensão das dinâmicas que organizam o espaço da praça como um espaço vivido por esses atares. Observando as práticas, performançes e narrativas dos sujeitos, busquei acessar processos de construção das subjetividades na relação com aquele contexto social. A performance enquanto abordagem antropológica permeou todo o trabalho, sendo mobilizada de maneiras e com propósitos diferenciados no decorrer do processo: como base para a estrutura dramatúrgica da performance artistica; enquanto abordagem para dar conta dos aspectos performátivos das ações cotidianas, e como ferramenta analítica, possibilitando a compreensão dos eventos performáticos como arenas reflexivas através das quais pontos de tensão pouco visíveis na vida ordinária eram explícitados. / This research studies how the public space of the Praça da Alfândega - a historic site in the central area of Porto Alegre - is commonty "used" by the local workers and inhabitants, which identify themselves with that space. As an inportant part of the ethnographic method, artistic presentations based in the language of contemporary dance were performed by the author at Praça da Alfândega. Those presentations provided the means to engage in the fieldwork, to interact with lhe locals and to circumscribe the universe of the research: prostitutes, salesmen, paper collectors, pensioners. Through the observation of the practices, performances and narratives present in that specific social context, the study focused in the analysis of the dynamics by which that space is organized by its ordinary occupants and the process of construction of subjectivities, related to the use of that space. The concept of performance was praposed as an anthropological tool, used with different purposes and in different ways throughout the research: as a base to the dramatic structure of the artistic performance, as a perspective from which to observe the performativity related to daily actions and as an analytic device - providing the means to understand social events as refiexive arenas where opaque aspects af the ordinary life are made visible.

Aim: The overall aim is to create knowledge about how nursing students’ learning in pairs can be supported in order to create prerequisites for encounters that provide caring and learning support during clinical practice. Approach and method: A reflective lifeworld research (RLR) approach founded on the epistemology of phenomenology and hermeneutics was used. Based on interviews, diary entries and observations with patients, students and supervisors, descriptive and interpretive analysis in accordance with the RLR approach was performed. Main findings: Students’ learning in pairs is based on encountering and caring for the patients together. The responsibility of caring for the patients, which is given to the students by their supervisors, is based on supportive relationships that are characterized by movements between independence and cooperation. Supporting students learning in pairs is characterized by a reflective approach focusing on learning in togetherness, where the individual student is also reached and seen, providing opportunities for developing important abilities for learning and caring. Depending on the ability to show respect and to take responsibility a more or less supportive relationship between the patients, the students and the supervisors is created within the learning space. Conclusions: Supporting students’ learning in pairs is complex due to it taking place in a caring context, where respect must be given towards the patients, the students, the supervisors and other participants who are closely connected to the learning space. Since learning in pairs affects and interweaves learning and caring environments, a reduction to either one of them, learning or caring, is not possible but instead the learning space must be understood as a whole. Optimal conditions for learning in pairs are based on dynamic movements, which require a reflective supervising approach. If these conditions are missing, there is a risk of creating both fragmented caring and learning, where the patients ́ vulnerability and safety needs to be taken into account. Keywords: caring science; clinical practice; learning space; learning support; pairs of nursing students; reflective lifeworld approach