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Under våren år 2020 uppmanades gymnasieskolan att ställa om sin verksamhet till att bedriva all undervisning på distans på grund av covid-19, coronapandemin, som ett steg i att minska smittspridningen. Omställningen till mer digital undervisning ledde till att såväl elever som lärare ställdes inför nya utmaningar. Digitaliseringen i skolan är en del av samhällsutvecklingen. Examensarbetet är en del av det praktiknära forskningsprojektet K-ULF och är uppdelat i en undersökningsdel och en utvecklingsdel. Undersökningsdelen belyser hur elever och lärare upplevde att gymnasieelevers matematikstudier påverkades av onlineundervisning samt hur elevernas inställning till matematikämnet påverkades. Kvantitativa och kvalitativa data samlades in genom en elevenkät med 627 svarande och intervjuer med 4 lärare och 5 elever på två gymnasieskolor. Kvantitativa data analyserades en variabel i taget för att visa frekvenser och kvalitativa data analyserades tematiskt. Utvecklingsdelen syftar till att utveckla en prototyp av ett stödmaterial för onlineundervisning i matematik i form av en handbok. Handboken utformades genom att kombinera analysen av insamlade erfarenheter från elever och lärare med didaktisk och matematikdidaktisk forskning.Resultatet visade att eleverna upplevde påverkan på sina studier inom flera områden: arbetsmöjligheter, närvaro och delaktighet, möjlighet att ställa frågor samt förändring av det sociala samspelet. En stor andel av eleverna upplevde att det var svårare att arbeta med matematiken när de hade onlineundervisning och att det var svårare att interagera med andra. Däremot fanns det elever som uppskattade att studera hemifrån och som tyckte om att de fick ta ett större eget ansvar. Studien visade även en förskjutning av elevers inställning till matematikämnet åt det negativa hållet. Förändringen berodde bland annat på: att eleverna haft svårt att fokusera, bristande motivation, minskad delaktighet under lektionstid och att eleverna inte ställde frågor när de behövde hjälp. Vissa elever fick en bättre inställning till matematik på grund av att onlineundervisningen upplevdes vara positiv, exempelvis genom minskad stress. Det var inte möjligt att se någon skillnad i förändring av inställning till matematikämnet för pojkar jämfört med flickor.Vi hoppas att vårt examensarbete ska kunna bidra med insikter om hur närundervisning kan förbättras utifrån erfarenheter av onlineundervisning. Det gäller exempelvis frågor om i vilka sammanhang som digitalisering kan gynna eller hämma lärandet för elever och frågor om hur digitalisering påverkar lärares arbetsbelastning. Vi menar avslutningsvis att erfarenheter från den snabba omställningen av undervisning i gymnasieskolan behöver beforskas ytterligare så att skolan kan möta utmaningar och vara en del av det hållbara samhället. / During the spring of 2020, the Swedish upper secondary schools were requested to readjust their teaching to distance learning and online education, due to the ongoing COVID-19 pandemic, as a step to reduce the spread of infection. The readjustment of teaching to operate fully online led to new challenges for both students and teachers. Digitalization in schools is part of the societal development. This master thesis is divided into two parts, one investigatory and one developmental. It is also a part of the practical research project K-ULF. The investigatory part highlights how students and teachers experienced the change to online teaching and how it affected the students’ studies in mathematics and their attitude towards the subject. Quantitative and qualitative data were gathered by administering a survey to the students. In total 627 students answered and additional interviews with four teachers and five students at two upper secondary schools were conducted. The quantitative data was analyzed one variable at a time to show frequencies whereas the qualitative data was analyzed thematically. The developmental part of this thesis aims to develop a support material for online teaching, in the format of a guidebook. The guidebook was designed by combining the analysis of the gathered experiences from students and teachers with didactics and mathematical didactics research.Results showed that students experienced impact in several areas: work situation, attendance and participation, possibilities to ask questions and changes in social interactions. Many students experienced that it was more difficult to work with mathematics when they had online teaching and that it was more difficult to interact with others. However, there were students that appreciated studying from home and enjoyed taking on more personal responsibilities. This thesis also showed a negative shift in students’ attitude towards mathematics. Contributing factors to the shift were: students found it difficult to focus, lack of motivation, reduced participation during class and that the students did not ask questions when they needed help. Furthermore, some students got a better attitude towards mathematics as they had a positive experience from online teaching, for instance through reduced stress levels. It was not possible to detect any differences in the change of attitude towards mathematics between boys and girls.The aim of this master thesis is to contribute with insights on how traditional teaching in mathematics can be improved based on the experiences from online teaching. Topics that this applies to is for example: questions regarding which contexts digitalization may improve or inhibit learning and what impact it has on teachers' working environment. To conclude, additional experiences from the rapid teaching readjustment in the upper secondary school should be investigated so that the schools can meet these challenges and be a part of a sustainable society.

The Bark Project is a practice-based research venture that uses scientific tools to characterize materials and design methods to explore materials that lead to longer lifecycle applications for tree bark. This project is part of the Matters of Activity excellence cluster research group Adaptive Fibrous Materials, which is aimed at a deeper understanding of biological material, their activity within their environment and adaptation for future scenarios.

<p>  </p> <p>Mathematics teacher educators have suggested that approximations of practice provide preservice mathematics teachers (PMTs) with opportunities to engage with, develop, and demonstrate subdomains of Mathematical Knowledge for Teaching ([MKT], Ball et al., 2008) because MKT provides a way for PMTs to understand how to contextualize their discipline-specific content knowledge for effective mathematics teaching and learning. However, the affordances and limitations of commonly used forms of approximations of practice (i.e., lesson planning and peer teaching) coupled with reflective practices to engage PMTs in subdomains of MKT are still being explored. In this study, I investigated how lesson planning, peer teaching, and associated reflections individually and collectively afforded opportunities for PMTs to demonstrate and develop the MKT subdomains. Eleven PMTs enrolled in a secondary mathematics methods course at a large Midwestern University participated in the study. My dissertation comprises three sub-studies (Sub-study “1”, “2”, and “3”), and I produced three manuscripts to individually report findings from those sub-studies. I investigated how lesson planning, peer teaching, and reflections afforded opportunities for PMTs to demonstrate and describe MKT subdomains in Sub-studies 1, 2, and 3, respectively. The findings across the sub-studies suggested that several MKT subdomains (e.g., Knowledge of Content and Teaching, Knowledge of Content and Students) were evidenced in the PMTs’ planned teacher and student actions (e.g., selecting mathematical tasks, formulating and sequencing questions), and in-the-moment actions and decisions (e.g., mathematically representing students’ responses, implementing mathematical tasks). Several aspects of MKT subdomains (e.g., evaluate the diagnostic potential of tasks) were strongly evidenced only in the PMTs’ lesson plans whereas other aspects (e.g., modifying tasks based on students’ responses) were evidenced only in peer teaching. These findings suggested that various forms of approximations of practice (planned and enacted actions) created unique opportunities for the PMTs to engage with and demonstrate MKT. I also found that the PMTs reflected on some subdomains of MKT that were not evidenced in their approximated practices, indicating that how PMTs describe the MKT subdomains is not entirely a result of what subdomains they engage in during approximations of practice. My findings also revealed limitations of using approximations of practice to engage PMTs with MKT subdomains. The MKT subdomains that required the PMTs to think about students’ alternative mathematical concepts, big mathematical ideas, and non-standard mathematics problem-solving strategies were least evidenced across the approximations of practice and reflections. These findings have two primary implications for mathematics teacher educators. First, I invite mathematics teacher educators to engage PMTs in multiple forms of approximations of practice to optimize their opportunities to engage with, demonstrate, and develop the MKT subdomains. Second, I suggest potential instructional activities (e.g., inviting PMTs to reflect on their roles as students and teachers during peer teaching) that could be incorporated into approximations of practice to address the existing limitations. Broadly, I invite mathematics teacher educators to design instructional activities at the intersection of mathematics content and pedagogy, collaborating with colleagues to enhance these opportunities across programs.</p> <p>  </p>

[EN] The PhD thesis "INCIPIT: The search for a multidisciplinary language at the crossroads of Antiquity and Contemporaneity" focusses on the influence of the methodology of Historically Informed Performance practice on the creation of a Contemporary Music Theatre performance. The framework and creative basis for their connection is the Divina Commedia of Dante Alighieri (1265-1321). In music theatre it is not only about music as one of the scenic elements; musical thinking structures the entire theatrical process. It is a genre-between-genre, where various art disciplines interact. Historically Informed Performance practice is a characteristic musical approach of the Early Music movement. It includes study of historical documents and objects in order to obtain a more profound understanding of the music and a performance practice which is based upon this comprehension. In our thesis, Historically Informed Performance practice has been connected with Contemporary Music Theatre through a mise-en-scene of Dante's Commedia, principally based upon its sonorous non-musical and musical references. Also references of movement, gesture, colour and light were taken into account for the mise-en-scene, but always in relation to the sonorous references. In this way, the mise-en-scene is a sonorous journey through Dante's Afterworld as he might have imagined it, but also a contemporary visual and dramatical journey. This research has been done through artistic practice: the creation and performance of a contemporary music theatre work called Incipit. It is based upon thorough knowledge of the Commedia and, through its methodology of Historically Informed Performance Practice, it has mostly made used of 14th century musical sources. An audio file was created as a sonorous element for Incipit, based on previously existing sounds and recording of songs and texts.The performance was recorded in video format. The research question was: How do the work methods taken from Historically Informed Performance practice contribute to the creation of a contemporary music theatre performance in a mise-en-scene of the Divina Commedia? For this practice-based research not only historical-musical knowledge was necessary but also literary knowledge of Dante's Commedia and its underlying meanings. Theoretical knowledge thus was an important basis for the practice. However, the practice itself also provided information for the theory. For the composition of three-voice "simple polyphony" according to the rules for polyphonic improvisation around 1300, theoretical knowledge was essential, but their practice led to historical-musical insights of its performance and its rules for intervallic and rhythmic matters. The practice provided a new perspective on Dante's narrative from a sonorous point of view. Finally, the practice combined two disciplines, Early Music and Contemporary Music Theatre, which are not commonly combined, and it provides us new theoretical insights of creative processes and musical-theatrical languages. / [ES] La tesis doctoral "INCIPIT: La búsqueda de un lenguaje multidisciplinario en el punto de encuentro entre la antigüedad y contemporaneidad" trata sobre la influencia de la metodología de la práctica de interpretación históricamente informada en la creación de una puesta en escena de Teatro Musical Contemporáneo. El marco y la base creativa para su combinación es la Divina Comedia de Dante Alighieri (1265 - 1321). El teatro musical no se centra solamente en la música como uno de los elementos escénicos; el pensamiento musical estructura todo el proceso teatral. Es un género-entre-géneros donde interactúan varias disciplinas artísticas. La interpretación históricamente informada es una manera de abordar la música que caracterizan los intérpretes especializados en la Música Antigua. Incluye el estudio de documentos y objetos históricos con el fin de llegar a una comprensión más profunda de la música antigua y una práctica interpretativa que se basa en este entendimiento. En esta tesis, se ha relacionado la interpretación históricamente informada con el teatro musical contemporáneo a través de una puesta en escena de la Comedia de Dante basada principalmente en sus referencias sonoras, tanto musicales como no musicales. Además se tomaron en cuenta las referencias de movimiento, gesto, color y luz para la puesta en escena pero siempre en relación con las referencias sonoras. De esta forma, la puesta en escena se ha convertido en un viaje sonoro a través del Más Allá de Dante como él mismo podría haberlo imaginado, pero también siendo un viaje visualmente y dramáticamente de carácter contemporáneo. Esta investigación se ha realizado a través de la práctica artística: la creación e interpretación de una obra de teatro musical contemporáneo llamada Incipit. Se basa en un conocimiento profundo de la Comedia y, a través de la metodología de la práctica interpretativa históricamente informada, se ha hecho principalmente uso de fuentes musicales del siglo XIV. Un archivo de audio fue creado como elemento sonoro para Incipit, compuesto de sonidos previamente existentes y la grabación de cantos y textos. La actuación fue grabada en formato de vídeo. La pregunta de investigación fue: ¿Cómo contribuyen los métodos de trabajo tomados de la práctica interpretativa históricamente informada a la creación de una actuación de teatro musical contemporáneo en una puesta en escena de la Divina Comedia? Para esta investigación basada en la práctica, no sólo fue necesario el conocimiento histórico-musical, sino también el conocimiento literario de la Comedia de Dante y sus significados subyacentes. Por lo tanto el conocimiento teórico ha constituido una base importante para la práctica. Sin embargo, la práctica en sí también proporciona información para la teoría. En cuanto a la composición de "polifonía sencilla" a tres voces, de acuerdo con las reglas para la improvisación polifónica de principios del siglo XIV, ha sido esencial recurrir a un gran conocimiento teórico, pero su práctica interpretativa dio lugar a ideas histórico-musicales de su interpretación y sus normas acerca de cuestiones de intervalos y ritmos musicales. La práctica proporciona, desde un punto de vista sonoro, una nueva perspectiva de la narrativa de Dante. Por último, la interpretación junta dos disciplinas que no han sido combinadas frecuentemente: la Música Antigua y el Teatro Musical Contemporáneo, proporcionándonos nuevos conocimientos teóricos de los procesos creativos y los lenguajes musical-teatrales. / [CA] La tesi doctoral "INCIPIT: La recerca d'un llenguatge multidisciplinari en el punt de trobada entre l'antiguitat i contemporaneïtat" tracta sobre la influència de la metodologia de la pràctica d'interpretació històricament informada en la creació d'una posada en escena de Teatre Musical Contemporani. El marc i la base creativa per la seua combinació és la Divina Comèdia de Dante Alighieri (1265-1321). El teatre musical no se centra només en la música com un dels elements escènics; el pensament musical estructura tot el procés teatral. És un gènere-entre-gèneres on interactuen diverses disciplines artístiques. La interpretació històricament informada és una manera d'abordar la música que caracteritzen els intèrprets especialitzats en la Música Antiga. Inclou l'estudi de documents i objectes històrics per tal d'arribar a una comprensió més profunda de la música antiga i una pràctica interpretativa que es basa en aquest endement. En aquesta tesi, s'ha relacionat la interpretació històricament informada amb el teatre musical contemporani a través d'una posada en escena de la Comèdia de Dante basada principalment en les seues referències sonores, tant musicals com no musicals. A més es van prendre en compte les referències de moviment, gest, color i llum per a la posada en escena però sempre en relació amb les referències sonores. D'aquesta manera, la posada en escena s'ha convertit en un viatge sonor a través del Més Enllà de Dante com ell mateix podria haver-ho imaginat, però també sent un viatge visualment i dramàticament de caràcter contemporani. Aquesta investigació s'ha realitzat a través de la pràctica artística: la creació i interpretació d'una obra de teatre musical contemporani anomenada Incipit. Es basa en un coneixement profund de la Comèdia i, a través de la metodologia de la pràctica interpretativa històricament informada, s'ha fet principalment ús de fonts musicals del segle XIV. Un arxiu d'àudio va ser creat com a element sonor per a Incipit, compost de sons prèviament existents i de la gravació de cants i textos. L'actuació va ser gravada en format de vídeo. La pregunta d'investigació va ser: Com contribueixen els mètodes de treball presos de la pràctica interpretativa històricament informada a la creació d'una actuació de teatre musical contemporani en una posada en escena de la Divina Comèdia? Per a aquesta investigació basada en la pràctica, no només va ser necessari el coneixement històric-musical, sinó també el coneixement literari de la Comèdia de Dante i els seus significats subjacents. Per tant el coneixement teòric ha constituït una base important per a la pràctica. No obstant això, la pràctica en si també proporciona informació per a la teoria. Pel que fa a la composició de "polifonia senzilla" a tres veus, d'acord amb les regles per a la improvisació polifònica de principis del segle XIV, ha sigut essencial recórrer a un gran coneixement teòric, però la seua pràctica interpretativa va donar lloc a idees historicomusicals de la seua interpretació i les seues normes sobre qüestions d'intervals i ritmes musicals. La pràctica proporciona, des d'un punt de vista sonor, una nova perspectiva de la narrativa de Dante. Finalment, la interpretació junta dues disciplines que no han estat combinades freqüentment: la Música Antiga i el Teatre Musical Contemporani, proporcionant-nos nous coneixements teòrics dels processos creatius i els llenguatges musical-teatrals. / Sprenkeling, L. (2016). INCIPIT: The search for a multidisciplinary language at the crossroads of Antiquity and Contemporaneity [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62682

This licentiate thesis presents and discusses experimental explorations in search for new methods of form-thinking within the knitwear design process. The position of textile knitting techniques is somewhat ambiguous. This is because they are not only concerned with creating the textile material, but also with the form of the garment as these two are created in the same process. Consequently, the common perception of form and material as two separate design parameters can be questioned when it comes to knitting. Instead, we may view it as a design process that has a single design parameter; a design process in which the notion of form provides the conceptual foundation. Through conducting a series of design experiments using knitting and crochet techniques, the notion of form was explored from the perspective of the way in which we make a garment. The outcome of the experiments showed that there are possibilities for development of alternative working methods in knitwear design by viewing form in terms of topological invariants rather than as abstract geometrical silhouettes. If such a notion, i.e. a notion of a more concrete geometry, were to be implemented in the design process for knitwear, it would provide another link between action and expression that could deepen our understanding of the design potential of knitting techniques and provide the field with new expressions and gestalts.

The following study aims to examine the special mathematical knowledge needed in order to teach mathematics. Furthermore, the study attempts to explore how teachers’ views on the knowledge needed in order to teach mathematics affects their student’s opportunities to develop their conceptual understanding. Qualitative and quantitative empirical data was attained by observations and complementary interviews. A total of three teachers, all working at the same school, was observed and interviewed. The study used Ball, Thames &amp; Phelps (2008) practice-based theory of mathematical knowledge for teaching, MKT, as its theoretical framework when analyzing the empirical data. The result of the observations displays that math teachers tend to use common content knowledge far more than specialized content knowledge during their lessons. The outcome of this also study reveals that there is a tendency among teachers to interfuse mathematical concepts with terminology. Conceptual understanding is equated with the use of correct terminology. The students are not exposed to the underlying ideas of the mathematical concepts. The study also concludes that there seems to be a sectioning between the mathematical content taught in grade 4-6 from the rest of the content being taught in elementary school, with a low number of connections being made between mathematical topics and concepts included in the curriculum.

The primary aim of this study in creative writing is research into an aspect of the writing process, namely the creation of spatial dynamics in a novel. This objective required the creation of an artefact. A novel titled Somersneeu was written in order to examine the very process of generating spatial dynamics in this novel in particular, as well as in the novel as such. Somersneeu was published by Human & Rousseau in 2010. Practice-based as well as practice-led research was fundamental to this study. An artistic creator registers intellectually whatever unfolds during the creative process and so new knowledge can simultaneously be created. The process of creating a work of art as well as the reflection thereon is fundamental to practice-led research. In other words, the creative process of an artefact like the novel Somersneeu is the source of a certain kind of knowledge that gradually emerges and can eventually be verbalised. Therefore a design concept for creating spatial dynamics may be articulated. It is a fact that a definite coherence exists between space and spatial dynamics. These two concepts are in reality inseparable and this cohesion is what is also being investigated in this study. Space actually consists of spatial dynamics since all the different facets of space, concrete as well as abstract, have definite and inseparable repercussions upon one another, causing a dynamic interaction among all facets of space. Apart from concrete or physical space, numerous abstractions of space take part in this interplay. These spatial abstractions are, for instance culture, identity, zeitgeist and the all-encompassing human psyche. The intense interplay among all the facets of space triggers spatial dynamics. This is the case in real life as well as in fiction. The above mentioned discussion of space and spatial dynamics is followed by an intense and heuristic view of the process of creating spatial dynamics. In order to create spatial dynamics in a novel, a novelist should have a strong sense of place. The essence of creating spatial dynamics in a novel consists mainly of the transformation of sense of place. The main aim of this study is then to present a design concept for the creation of spatial dynamics in a novel. This design concept may be used by other writers in order to create spatial dynamics in a novel. The novel Somersneeu as well as the questionnaire, reception documents and a list of publications of the writer are included as appendixes. / PhD (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2014

This thesis considers the relationship between practices, communities and continuity in intermittent organisational arrangements. Cultural festivals are argued to offer one such particularly rich and nuanced research context; within this study their potential to transcend intermittent enactment emerged as a significant avenue of enquiry. The engagement of organisation studies with theories of practice has produced a rich practice-based corpus, diverse in both theoretical concerns and empirical approaches to the study of practice. Nevertheless, continuity presents an, as yet, under-theorised aspect of this field. Thus, the central questions of this thesis concern: the practices that underpin the enactment of festivals; the themes emerging from these practices for further consideration; and relationships between festivals and the wider context within which they are enacted. These issues were explored empirically through a qualitative study of the enactment of a community-centred film festival. Following from the adoption of a ‘practice-lens approach', this study yielded forty-eight practices, through which to explore five themes emerging from analysis: Safeguarding, Legitimising, Gatekeeping, Connecting and Negotiating Boundaries. This study revealed an aspect of the wider field of practice that has not yet been fully examined by practice-based studies: the cementing or anchoring mechanisms that contribute to temporal continuity in intermittent, temporary or project-based organisations. The findings of this thesis suggest a processual model, which collectively reinforces an organisational memory that survives periods of latency and facilitates the re-emergence of practice, thus potentially enabling organisations to endure across intermittent enactment and, ultimately, transcend temporality and ephemerality. The themes examined and insights offered in this thesis seek to contribute to: practice-based studies and film-festival studies; forging a new path linking these two disciplines; and generating both theoretical and practical insights of interest to festival organisers and stakeholders of project-based, temporary or intermittent organisational arrangements.

This thesis is a narrative case study that examined the studio art practice of Lead Pencil Studio, a Seattle-based artist collaborative that explore our spatial relationships with architecture through site-specific installations. The case study specifically focused on the work of Daniel Mihalyo and Annie Han (Lead Pencil Studio) while they were at the Visual Arts Center in The University of Texas at Austin for a spring 2013 artist-in-residence program. The research focused specifically on the artists’ day-to-day process, examining the thoughts and actions that went into creating their work, Diffuse Reflection Lab, a two-story plywood structure that examined reflection’s effect on architecture through various vignettes. Through concentrated observations of the Lead Pencil Studio’s work and three semi-structured interviews, this thesis examined how traditional research practices are integrated into the studio art process. By examining the art/research relationship the author also situates this work in the field of practice-based research. While this work specifically focused on the research conducted by a pair of professional artists, it also extends to a broader argument about the role of research in art lessons. Since this thesis is based in art education, it connects the themes observed in the artists’ studio practice to interdisciplinary learning and arts integration. The author ultimately argues that Lead Pencil Studio’s art/research practice can be used in the classroom as an example of transdisciplinary learning and that it models a rigorous approach to creativity within other disciplines. / text