Abstract This thesis acknowledges the social and cultural importance of education and the role the institution plays in the construction of knowledge – in this case of young Nunga males. It also recognizes that education is a contested field. I have disrupted constructions of knowledge about young Nunga males in mainstream education by mapping and rapping - or mappin and rappin Aboriginal English - the theories of race, masculinity, performance, cultural capital, body and desire and space and place through the use of Nunga time-space pathways. Through disruption I have shown how the theories of race and masculinity underpin ways in which Blackness and Indignity are played out within the racialisation of education and how the process of racialisation informs young Nunga males’ experiences of schooling. The cultural capital that young Nunga males bring to the classroom and schooling environment must be acknowledged to enable performance of agency in contested time, space and knowledge paradigms. Agency privileges their understanding and desire for change and encourages them to apply strategies that contribute to their own journeys home through time-space pathways that are (at least in part) of their own choosing.

<p>This study develops a model for understanding spatial change and the construction of space as a meeting-place, and then employs it in order to show an otherwise little-known picture of (sub-)urban Russia and its transformation from Soviet times to today. The model is based on time-geographic ideas of time-space as a limited resource in which forces of various kinds struggle for access and form space in interaction with each other. Drawing on cultural semiotics and the concepts of lifeworld and system, the study highlights the social side of these space-forming forces. Based on a long-term fieldwork (participant observation) in Ligovo/Uritsk, a high-rise residential district developed around 1970 and situated on the outskirts of Sankt-Peterburg (St Petersburg), the empirical material concerns processes of urban identity, spatial representations and local politics. The study explicates three codes used to form the image of the city that all relate to its pre-Revolutionary history, two textual strategies of juxtaposition in creating the genius loci of a place, and a discussion of what I call Soviet "stiff landscape" in relation to Soviet mental and ordinary maps of the urban landscape. Moreover, the study shows that the newly implemented self-governing municipalities have not realised their potential as political actors in forming local space, which raises questions on the democratisation of urban space. Finally, the study argues that the model that guides the research is a tool that facilitates the application of the world-view of time-geography and the epistemology of the landscape of courses in concrete research. The study ends with an attempt to generalise spatial change in four types.</p>

<p>This thesis begins by making two observations. First, that the regional economic landscapes in which we all live our daily lives, and which provide the basis for employment and prosperity, are constantly changing. Second, that one of the most popular strategies currently pursued by regions and nations for coping with such change, relies heavily on innovation within a few high-tech industries, biotech being one prominent example. The thesis is an investigation into the potential – and limits – of biotech-based development policies for creating renewal and economic growth at the local, regional or national scales. How does it really work when a team of biotech researchers develops a new invention? How can a small Swedish town manage to attract large foreign direct investments and stay competitive in the global biotech landscape? How is the performance of biotech knowledge workers affected by the places they live in, go to, leave, and make up? What impact can a biotech firm have on the local economic landscape in which it is located? These are the kind of questions that are studied in the four papers that make up this thesis. The thesis develops a conceptual framework within which we can better understand the extent to which mono-territorial actors, like regional and national policymakers, can influence high-tech sectors like biotech; sectors that are polycentric in nature and only partly take place in, or pass through, regional and national territories.</p>

In the years immediately following the Second World War, the main part of Latvian literature was produced by writers living outside Latvia. To this day Latvian literature continues to be written outside Latvia, albeit to a much smaller extent. This study examines those Latvian novels, written outside Latvia after the Second World War, which depict the realities of the early years of exile. The aim of the study is to describe the image of the world of exile as depicted in these novels. Borrowing from Bakhtin's concept of the chronotope, images relating to time and space in these novels are examined in order to discern a mental topography of exile common to all these novels - a chronotope of exile. The novels are read as part of a collective narrative, produced by a particular social group in unordinary historical circumstances. The novels are regarded as this social group’s common perception of its own experience of this historical reality. The early years of exile fall into two distinct periods: first, the period of flight from Latvia and life in and around the Displaced Persons camps of postwar Germany; second, the early years of settling in a new country of residence after emigration from Germany. A model of the perceived world is constructed in order to compare these two periods, as well as their divergence from a standard perception of oneself in the world. This model consists of various time-spaces radiating concentrically out from the individual – ranging from the physically and psychologically near-lying time-spaces of one’s personal and intimate life, through everyday social time-spaces, as well as formal societal time-spaces, to the more distant abstract and conceptual perceptions of one’s place in the universe. Basic human concepts such as home, family, work, intimate relationships, social administration, and most notably the homeland – Latvia – are plotted at various points within these models. Divergences between the models describing the perception of time and space in the two early periods of exile thus become apparent.

This study develops a model for understanding spatial change and the construction of space as a meeting-place, and then employs it in order to show an otherwise little-known picture of (sub-)urban Russia and its transformation from Soviet times to today. The model is based on time-geographic ideas of time-space as a limited resource in which forces of various kinds struggle for access and form space in interaction with each other. Drawing on cultural semiotics and the concepts of lifeworld and system, the study highlights the social side of these space-forming forces. Based on a long-term fieldwork (participant observation) in Ligovo/Uritsk, a high-rise residential district developed around 1970 and situated on the outskirts of Sankt-Peterburg (St Petersburg), the empirical material concerns processes of urban identity, spatial representations and local politics. The study explicates three codes used to form the image of the city that all relate to its pre-Revolutionary history, two textual strategies of juxtaposition in creating the genius loci of a place, and a discussion of what I call Soviet "stiff landscape" in relation to Soviet mental and ordinary maps of the urban landscape. Moreover, the study shows that the newly implemented self-governing municipalities have not realised their potential as political actors in forming local space, which raises questions on the democratisation of urban space. Finally, the study argues that the model that guides the research is a tool that facilitates the application of the world-view of time-geography and the epistemology of the landscape of courses in concrete research. The study ends with an attempt to generalise spatial change in four types.

This thesis begins by making two observations. First, that the regional economic landscapes in which we all live our daily lives, and which provide the basis for employment and prosperity, are constantly changing. Second, that one of the most popular strategies currently pursued by regions and nations for coping with such change, relies heavily on innovation within a few high-tech industries, biotech being one prominent example. The thesis is an investigation into the potential – and limits – of biotech-based development policies for creating renewal and economic growth at the local, regional or national scales. How does it really work when a team of biotech researchers develops a new invention? How can a small Swedish town manage to attract large foreign direct investments and stay competitive in the global biotech landscape? How is the performance of biotech knowledge workers affected by the places they live in, go to, leave, and make up? What impact can a biotech firm have on the local economic landscape in which it is located? These are the kind of questions that are studied in the four papers that make up this thesis. The thesis develops a conceptual framework within which we can better understand the extent to which mono-territorial actors, like regional and national policymakers, can influence high-tech sectors like biotech; sectors that are polycentric in nature and only partly take place in, or pass through, regional and national territories.

The present thesis is devoted to selected prosaic works of Anna Blažíčková - specifically to her books Čekání v zástupu, Psí víno and Teď něco ze života. In its chapters-which focus successively on the narrator, composition, characters, time, and space-the thesis shows the repertory of elements and procedures which link the texts as well as how these elements and procedures help to create the world of the chosen prosaic works. These observations are based on an analysis of the original texts and with the help of theoretical literature.

There is a growing consensus among physicists that the classical notion of spacetime has to be drastically revised in order to nd a consistent formulation of quantum mechanics and gravity. One such nontrivial attempt comprises of replacing functions of continuous spacetime coordinates with functions over noncommutative algebra. Dynamics on such noncommutative spacetimes (noncommutative theories) are of great interest for a variety of reasons among the physicists. Additionally arguments combining quantum uncertain-ties with classical gravity provide an alternative motivation for their study, and it is hoped that these theories can provide a self-consistent deformation of ordinary quantum field theories at small distances, yielding non-locality, or create a framework for finite truncation of quantum field theories while preserving symmetries. In this thesis we study the gauge theories on noncommutative Moyal space. We nd new static solitons and instantons in terms of the so-called generalized Bose operators (GBO). GBOs are constructed to describe reducible representation of the oscillator algebra. They create/annihilate k-quanta, k being a positive integer. We start with giving an alternative description to the already found static magnetic flux tube solutions of the noncommutative gauge theories in terms of GBOs. The Nielsen-Olesen vortex solutions found in terms of these operators also reduce to the ones known in the literature. On the other hand, we nd a class of new instanton solutions which are unitarily inequivalent to the ones found from ADHM construction on noncommutative space. The charge of the instanton has a description in terms of the index representing the reducibility of the Fock space representation, i.e., k. After studying the static soliton solutions in noncommutative Minkowski space and the instanton solutions in noncommutative Euclidean space we go on to study the implications of the time-space noncommutativity in Minkowski space. To understand it properly we study the time-dependent transitions of a forced harmonic oscillator in noncommutative 1+1 dimensional spacetime. We also provide an interpretation of our results in the context of non-linear quantum optics. We then shift to the so-called DSR theories which are related to a different kind of noncommutative ( -Minkowski) space. DSR (Doubly/Deformed Special Relativity) aims to search for an alternate relativistic theory which keeps a length/energy scale (the Planck scale) and a velocity scale (the speed of light scale) invariant. We study thermodynamics of an ideal gas in such a scenario. In first chapter we introduce the subjects of the noncommutative quantum theories and the DSR. Chapter 2 starts with describing the GBOs. They correspond to reducible representations of the harmonic oscillator algebra. We demonstrate their relevance in the construction of topologically non-trivial solutions in noncommutative gauge theories, focusing our attention to flux tubes, vortices, and instantons. Our method provides a simple new relation between the topological charge and the number of times the basic irreducible representation occurs in the reducible representation underlying the GBO. When used in conjunction with the noncommutative ADHM construction, we nd that these new instantons are in general not unitarily equivalent to the ones currently known in literature. Chapter 3 studies the time dependent transitions of quantum forced harmonic oscillator (QFHO) in noncommutative R1;1 perturbatively to linear order in the noncommutativity . We show that the Poisson distribution gets modified, and that the vacuum state evolves into a \squeezed" state rather than a coherent state. The time evolutions of un-certainties in position and momentum in vacuum are also studied and imply interesting consequences for modelling nonlinear phenomena in quantum optics. In chapter 4 we study thermodynamics of an ideal gas in Doubly Special Relativity. We obtain a series solution for the partition function and derive thermodynamic quantities. We observe that DSR thermodynamics is non-perturbative in the SR and massless limits. A stiffer equation of state is found. We conclude our results in the last chapter.

[ES] La presente tesis doctoral lleva por título La estampa líquida. El tensioactivo como medio de expresión artístico. Reúne la investigación de diversos artistas, cuyas obras surgen a partir de las posibilidades creativas de un químico tensor. Son el reflejo de nuevas estrategias y de la incorporación de nuevos materiales como medio creativo contemporáneo, y que tomamos como referentes para la invención de un nuevo método de entintado calcográfico. Esta indagación toma como punto de partida los conceptos de tiempo y espacio, dos términos inherentes y complementarios, consecuencia directa del rastro y la huella derivada de una realidad social. La Modernidad líquida, categoría que define este estado actual y figura de cambio constante y de interinidad, acuñada por el sociólogo Zygmunt Bauman, nos sirve como metáfora para la interpretación de estos nuevos recursos. Del mismo modo, este ensayo recoge un análisis del diálogo permanente entre aquellos detalles cotidianos y desapercibidos, receptáculos contenedores de un devenir en forma de esfera, representación que adoptamos del filósofo Peter Sloterdijk. Realizamos también, una aproximación a lo que fue una revolución en las vanguardias en el mundo de la gráfica: La técnica de la simultaneidad del color, inventada por el artista británico Stanley William Hayter y proceso primigenio del que surge esta tesis. Asimismo, se examinan aquellas técnicas de creación pictóricas, afines a nuestro estudio experimental, de las cuales nos imbuimos directamente. Como resultado del estudio del efecto de transitoriedad tensioactiva, esta tesis propicia nuestra producción artística personal: Recuerdo del trayecto, que ilustra dicha evolución química a través del tiempo inmortalizado en forma de estampa. / [CA] La present tesi doctoral porta per títol L'estampa líquida. El tensioactiu com a mitjà d'expressió artístic. Reunix la investigació de diversos artistes, les obres dels quals sorgixen a partir de les possibilitats creatives d'un químic tensor. Són el reflex de noves estratègies i de la incorporació de nous materials com a mitjà d'expressió artístic contemporani, i que prenem com a referents per a la invenció d'un nou mitjà d'entintat calcogràfic. Aquesta indagació pren com a punt d'eixida els conceptes de temps i espai, dos termes inherents i complementaris, conseqüència directa del rastre i la petjada derivada d'una realitat social. La Modernitat líquida, categoria que defineix aquest estat actual i figura de canvi constant i de interinitat, encunyada pel sociòleg Zygmunt Bauman, ens servix com a metàfora per a la interpretació d'aquests nous recursos. De la mateixa manera, aquest assaig recull una anàlisi del diàleg permanent entre aquells detalls quotidians i desapercebuts, receptacles contenidors d'un esdevenir en forma d'esfera, representació que adoptem del filòsof Peter Sloterdijk. Realitzem també una aproximació al que va ser una revolució a les Avantguardes en el món de la gràfica: La tècnica de la simultaneitat del color, inventada per l'artista britànic Stanley William Hayter i procés primigeni del que sorgeix aquesta tesi. Així mateix, s'examinen aquelles tècniques de creació pictòriques, afins al nostre estudi experimental, de les quals ens inbuïm directament. Com a resultat de l'estudi de l'efecte de transitorietat tensioactiva, aquesta tesi propicia la nostra producció artística personal: Recuerdo del trayecto, que il·lustra l'esmentada evolució química a través del temps immortalitzat en forma d'estampa. / [IT] La presente tesi di dottorato si intitola La stampa liquida. Il tensioattivo come mezzo di espressione artistica. Nel nostro lavoro intendiamo riunire le ricerche di vari artisti, le cui opere nascono dalle possibilità creative di un tensore chimico. Esse riflettono le nuove strategie e l'incorporazione di nuovi materiali come mezzo creativo contemporaneo, che prendiamo come riferimento per l'invenzione di un nuovo metodo per inchiostrare la matrice calcografica. Questa indagine prende come punto di partenza i concetti di tempo e spazio, due termini intrinseci e complementari, conseguenze dirette e prodotti derivanti da una determinata realtà sociale. La Modernità Liquida, categoria riferita allo status quo della società contemporanea, che rappresenta in costante cambiamento e una condizione ad interim, coniata dal sociologo Zygmunt Bauman, serve come metafora per l'interpretazione di queste nuove risorse. Allo stesso modo, questo saggio cattura un'analisi del dialogo permanente tra quei dettagli quotidiani e inosservati, i contenitori di un divenire in forma di sfera, così come apprendiamo dal filosofo Peter Sloterdijk. Abbiamo anche operato un'approssimazione a quella che è stata una rivoluzione nel mondo della grafica: la tecnica della concorrenza del colore, la cui partenità si ascrive all'artista britannico Stanley William Hayter, primo processo da cui nasce questa tesi. Inoltre, il nostro alvoro esamina anche quelle tecniche di creazione pittorica, simili al nostro studio sperimentale e di cui il nostro lavoro è fortemente impregnato. Come risultato dello studio dell'effetto della transitorietà surfattante, questa tesi promuove la nostra personale produzione artistica, Recuerdo del trayecto, che illustra questa evoluzione chimica attraverso il tempo immortalato sotto forma di stampa. / [EN] This doctoral thesis is named La estampa líquida. El tensioactivo como medio de expresión artístico (The Liquid Print. Surfactant as a resource of artistic expression). It gathers the investigation of different artists whose works arise from the creative possibilities of a tensor chemical. They are the reflection of new strategies and of the incorporation of new materials as a contemporary creative resource, and they are considered an example for the invention of a new chalcographic inking method. This investigation takes the concepts of time and space as a starting point. These concepts are inherent and complementary, a direct consequence of the trace and the print that stem from a social reality. The Liquid Modernity, a category which defines this current state and a symbol of constant change and temporariness, coined by sociologist Zygmunt Bauman, acts as a metaphor for the interpretation of these new resources. Likewise, this essay gathers an analysis of the permanent dialogue between those daily and unnoticed details, containing receptacles of a spherical future, a representation adopted from philosopher Peter Sloterdijk. We also carry out an approximation to what was a revolution in Avant-garde in the world of graphic arts: the technique of viscosity printing, invented by British artist Stanley William Hayter, an original process from which this thesis stems. Additionally, we examine those pictorial techniques of creation, related to our experimental study and from which we are directly influenced. As a result of the study of the effect of surfactant transience, this thesis fosters our personal artistic production: Recuerdo del trayecto, which illustrates this chemical evolution through the time immortalized in the shape of a print. / Simarro Escobar, A. (2020). La Estampa Líquida. El Tensioactivo como Medio de Expresión Artístico [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/152187 / TESIS

Most of the work on photography is about image and trying to understand photography as an image. Contrary to this approach, this paper deals with the experience of the photographer at the time of taking the picture, and also the influence of photography, understood as a medium, on our perception. The main topic is the photography of movement, where we can best demonstrate how photography changes both our perception and our understanding of (objective) reality. The beginning of the work is devoted to one of the greatest Czech photographers, Josef Sudek, who describes the method of his work. Sudek's definition of the moment involved in taking the picture is "when everything fits together"; the impossibility of returning to the same moment is a central feature of photography as presented in this work. Consequently, the basis for the thesis is that (1) photography and camera change the way we perceive, and that (2) photography is an actualization of the possibility of how we see what we see. The actualization of the possibility is discussed mainly in the context of Barbara Probst, whose work "Exposures" fundamentally enters the history of photography, and who - once again - does not put emphasis on the image but rather on the photographer as the creator of the image.