<p>Particle pollution in South Korea has become a matter of significant public concern, culminating in its declaration as a “social disaster” through a government proclamation in 2019. This study shows how the existing interventions to tackle particle pollution in South Korea as a “social disaster” contribute to maintaining the status quo, paradoxically. The study attempts to interpret pollution as entanglements, relations, and processes by addressing the discussions and politics surrounding particle pollution, the interventions to tackle it, and what they presuppose and exclude via multi-sited ethnography.</p> <p>What narratives form the bedrock of the current discourses and politics around particle pollution in South Korea? What kinds of population, knowledge systems, values, and interests are incorporated and excluded around particulate matter in Korea? Drawing upon four months of fieldwork, interviews, and collaborative work with residents, scientists, and activists in South Korea, this thesis offers a new understanding of how citizens’ experiences and knowledge practices have reshaped the concepts of pollution, toxicity, and health. The study indicates that the existing practices and knowledge vis-à-vis pollution control have individualized pollution by presuming particular ways of normalcy and excluding others. In doing so, this study captures the multiplicity of particle pollution and shows the existence and stories of different bodies living with/in pollution.</p> <p>Drawing on the literature in feminist science and technology studies as well as medical and environmental anthropology scholarship, this study problematizes harm reduction-based environmental and health intervention practices by describing the current individualized particle pollution responses. The research reveals how people in Korea living with/in particulate matter have perceived, datafied, defined, adjusted, and responded to particle pollution and its toxicity. The study suggests that pollution should be envisaged as entanglements and relations by shedding light on the stories that particulate matter has been perceived, coordinated, and generated in various ways. Lastly, indicating that the knowledge and interventions surrounding particle pollution have exploited and flattened the environment based on the human–nature dichotomy, the study suggests different ways of conceptualizing pollution, while considering the multiplicity of pollution, toxicities, and bodies.</p>

<div> <p>New information and communication technologies (ICTs), such as cell phones, email, and social media, have been transforming how social movements recruit, organize, participate in collective action, and experience repression. Yet, limited scholarship has addressed the uses of these technologies by social movements organizing within American prisons. Using a dialectical interpretive approach, I examine how a coalition of prisoners’ rights organizations uses ICTs to plan and participate in collective resistance across prison walls. The coalition, referred to here as the New Prisoners’ Rights Coalition (NPRC), organizes against low and no-wage prison labor, unhealthy and unsafe prison conditions, and inhumane prisoner treatment. The NPRC has a multi-platform public digital presence and mobilizes prisoner activists and free activists. Through narrative description, I summarize the ways NPRC activists use ICTs from December 2013 through September 2016, noting changes in ICT use over time and in response to movement repression. I find that new ICTs offer innovative ways for NPRC activists to record and document their environments, communicate privately, and communicate publicly. ICTs, however, do not remove all barriers to activism or ensure that activists’ concerns are resolved or even taken seriously. NPRC activists struggle to overcome stigma and mischaracterization online. They face physical repression, interpersonal hostilities, institutional sanctions, economic repression, legal sanctions, interpretive repression, surveillance, and monitoring. In different circumstances, the NPRC responds to repression by increasing ICT use, decreasing ICT use, going dark, migrating from one online platform to another, and shifting digital responsibilities from prisoner activists to free activists. I explain how, most of the time, the digital unreachability of the prison environment makes it difficult for NPRC activists to substantiate their claims of mistreatment, abuse, and injustice. Moreover, I consider how current prison technology policies may be inadvertently pushing NPRC activists into difficult-to-monitor online spaces and exacerbating safety concerns of corrections workers.</p></div>

When the New Zealand Government restructured the system of the public funding of research (1990-1992) it created Crown Research Institutes (CRIs) as companies operating in a global, market-led economy. One CRI, AgResearch, responded to this environment by corporatisation and instituted a normative system of control of workers which, through strategic plans, vision and mission statements, and performance appraisal processes, encouraged workers to adhere to company goals. This thesis, reporting on an ethnographic study of this CRI, shows how most scientific workers (technical workers and scientists alike) experienced insecurity through estrangement because the contributions they wished to make were less valued both in society and in their work organisation. They were excluded from participation in both organisational and Government policy-making, and felt they did not ‘belong’ anymore. Scientists in particular were also experiencing alienation (in the Marxist sense), as they were losing autonomy over the production of their work and its end use. Scientific workers developed tactics of compliance in order to resist these experiences and ostensibly comply with organisational goals while maintaining and protecting their self-identities, and making their work meaningful. Meanwhile, to outward appearances, the work of the CRI continued. This thesis adds to the sociology of work literature by extending the understanding of the concepts of compliance and resistance in white-collar work, particularly under normative control, by developing two models of resistance. It adds to the stories of the impact on public sector workers of the restructuring of this sector in New Zealand’s recent history, and develops implications for science policy and practice.

This thesis is a socio-economic history of the relationship between music technology and organisational practices in twentieth-century Australia. It argues that the history of technology in the Australian music economy is dependent not only upon the changing technical characteristics of musical instruments and electronic consumer goods but also upon government policy-making, management practices in music technology manufacturing firms and patterns of music technology consumption. The thesis examines economic statistics regarding the import, export and local production of music technology in Australia. The economic statistics have not previously been examined in relation to the history of music technology in Australia. The historical analysis is structured according to a four-part periodisation which includes the Electric Age (1901-1930), the Electronic Age (1930-1950), the Transistor Age (1950-1970) and the Information Age (1970-1990). This periodisation enables the analysis to continually be refocussed as the key technological and socio-economic dynamics change. With this perspective, the history of the relationship between technology and organisation in the Australian music economy has been demonstrated to be dependent on a number of key technological changes. The thesis examines changes including the shift from acoustic to electric recording; the development of transistor-based consumer electronics goods; and the advent of digital information technology. However, a number of key social determinants, particularly organisational modes, are examined including changes from protectionist to more deregulated trade policy; lack of business skills in areas such as marketing, manufacturing technique and industrial research and development; and the development of a sense of popular modernity which is expressed in the consumption of new, technically advanced and glamorous music technology. In addition to the new perspectives on the history of music technology provided by the analysis of empirical economic data, this thesis contributes to the historiography of technology. The analytical framework it proposes locates music technology within what is described as an assemblage of technologies: technologies of production, technologies of sign systems, technologies of power and technologies of the self. This approach makes clear the interdependence of technological and social factors, and the inadequacy of narrow technological determinist and social constructivist accounts. The notion of an assemblage of technologies is further embellished by drawing upon key elements of recent theories of systems analysis: the seamless web, evolution and chaos theory. Through this analytical framework and the socio-economic analysis of the relationship between music technology and organisational practices, the thesis demonstrates that the history of technology cannot be understood unless it is seen as part of a complex and interacting technical, social, economic and institutional system.

This thesis is a socio-economic history of the relationship between music technology and organisational practices in twentieth-century Australia. It argues that the history of technology in the Australian music economy is dependent not only upon the changing technical characteristics of musical instruments and electronic consumer goods but also upon government policy-making, management practices in music technology manufacturing firms and patterns of music technology consumption. The thesis examines economic statistics regarding the import, export and local production of music technology in Australia. The economic statistics have not previously been examined in relation to the history of music technology in Australia. The historical analysis is structured according to a four-part periodisation which includes the Electric Age (1901-1930), the Electronic Age (1930-1950), the Transistor Age (1950-1970) and the Information Age (1970-1990). This periodisation enables the analysis to continually be refocussed as the key technological and socio-economic dynamics change. With this perspective, the history of the relationship between technology and organisation in the Australian music economy has been demonstrated to be dependent on a number of key technological changes. The thesis examines changes including the shift from acoustic to electric recording; the development of transistor-based consumer electronics goods; and the advent of digital information technology. However, a number of key social determinants, particularly organisational modes, are examined including changes from protectionist to more deregulated trade policy; lack of business skills in areas such as marketing, manufacturing technique and industrial research and development; and the development of a sense of popular modernity which is expressed in the consumption of new, technically advanced and glamorous music technology. In addition to the new perspectives on the history of music technology provided by the analysis of empirical economic data, this thesis contributes to the historiography of technology. The analytical framework it proposes locates music technology within what is described as an assemblage of technologies: technologies of production, technologies of sign systems, technologies of power and technologies of the self. This approach makes clear the interdependence of technological and social factors, and the inadequacy of narrow technological determinist and social constructivist accounts. The notion of an assemblage of technologies is further embellished by drawing upon key elements of recent theories of systems analysis: the seamless web, evolution and chaos theory. Through this analytical framework and the socio-economic analysis of the relationship between music technology and organisational practices, the thesis demonstrates that the history of technology cannot be understood unless it is seen as part of a complex and interacting technical, social, economic and institutional system.

This thesis is a socio-economic history of the relationship between music technology and organisational practices in twentieth-century Australia. It argues that the history of technology in the Australian music economy is dependent not only upon the changing technical characteristics of musical instruments and electronic consumer goods but also upon government policy-making, management practices in music technology manufacturing firms and patterns of music technology consumption. The thesis examines economic statistics regarding the import, export and local production of music technology in Australia. The economic statistics have not previously been examined in relation to the history of music technology in Australia. The historical analysis is structured according to a four-part periodisation which includes the Electric Age (1901-1930), the Electronic Age (1930-1950), the Transistor Age (1950-1970) and the Information Age (1970-1990). This periodisation enables the analysis to continually be refocussed as the key technological and socio-economic dynamics change. With this perspective, the history of the relationship between technology and organisation in the Australian music economy has been demonstrated to be dependent on a number of key technological changes. The thesis examines changes including the shift from acoustic to electric recording; the development of transistor-based consumer electronics goods; and the advent of digital information technology. However, a number of key social determinants, particularly organisational modes, are examined including changes from protectionist to more deregulated trade policy; lack of business skills in areas such as marketing, manufacturing technique and industrial research and development; and the development of a sense of popular modernity which is expressed in the consumption of new, technically advanced and glamorous music technology. In addition to the new perspectives on the history of music technology provided by the analysis of empirical economic data, this thesis contributes to the historiography of technology. The analytical framework it proposes locates music technology within what is described as an assemblage of technologies: technologies of production, technologies of sign systems, technologies of power and technologies of the self. This approach makes clear the interdependence of technological and social factors, and the inadequacy of narrow technological determinist and social constructivist accounts. The notion of an assemblage of technologies is further embellished by drawing upon key elements of recent theories of systems analysis: the seamless web, evolution and chaos theory. Through this analytical framework and the socio-economic analysis of the relationship between music technology and organisational practices, the thesis demonstrates that the history of technology cannot be understood unless it is seen as part of a complex and interacting technical, social, economic and institutional system.

The intent of the thesis is to ascertain whether mitigation of political risk to the IT industry in Panama can be of value to the country by improving the economy and standard of living.

This study examined the level of trust of information on social media. Specifically, I investigated the factors of performance expectancy with information-seeking motives that appear to influence the level of trust of information on various social network sites. This study utilized the following theoretical models: elaboration likelihood model (ELM), the uses and gratifications theory (UGT), the unified theory of acceptance and use of technology model (UTAUT), the consumption value theory (CVT), and the Stimulus-Organism-Response (SOR) Model to build a conceptual research framework for an exploratory study. The research investigated the extent to which information quality and source credibility influence the level of trust of information by visitors to the social network sites. The inductive content analysis on 189 respondents’ responses carefully addressed the proposed research questions and then further developed a comprehensive framework. The findings of this study contribute to the current research stream on information quality, fake news, and IT adoption as they relate to social media.

<p>Since the late 1970s, biomedical researchers have heavily invested in the development of portable insulin pumps that allow people with Type 1 Diabetes (T1D) to carry several days-worth of insulin to be injected on an as-needed basis. That means fewer needles and syringes, making regular insulin injections less time consuming and troublesome. As insulin pump use has become more widespread over the past twenty years among people with T1D, the social and cultural effects of using these medical devices on their everyday experiences have become both increasingly apparent for individuals yet consistently absent from social and cultural studies of the disease.</p><p><br></p><p>In this dissertation, I explore the technological, medical, and cultural networks of insulin pump treatment to identify the role(s) these biomedicalized treatment acts play in the structuring of people, their bodies, and the cultural values constructed around various medical technologies. As I will show, insulin pump treatment alters people’s bodies and identities as devices become integrated as co-productive actors within patient-users’ biological and social systems. By analyzing personal interviews and digital media produced by people with T1D alongside archival materials, this study identifies compulsory patterns in the practices, structures, and narratives related to insulin pump use to center chapters around the productive (and sometimes stifling) relationship between people, bodies, technologies, and American culture.</p><p><br></p><p>By analyzing the layered and intersecting sites of insulin pump treatment together, this project reveals how medical technologies, health identities, bodies, and cultures are co-constructed and co-defined in ways that bind them together—mutually constitutive, medically compelled, cultural and social. New bodies and new systems, I argue, come with new (in)visibilities, and while this new technologically-produced legibility of the body provides unprecedented management of the symptoms and side-effects of the disease, it also brings with it unforeseen social consequences that require changes to people’s everyday lives and practices. </p>

The facilitator model for dual credit offers a way for student to earn directly transcripted credit to colleges and universities, overcoming many barriers faced by other dual credit models. Successful implementation of this model requires high degree of involvement from the cooperating institution. This IRB approved qualitative case study explored the needs of five teacher facilitators in both summer professional development and on-going support throughout the school year when implementing a facilitator model for dual credit with open-ended design coursework. Code-recode and axial coding techniques were applied to over 90 hours of transcribed data, artifacts, and observations from a seven month period to find emerging themes and offer recommendations for implementation.<p></p>