Embedded in debates concerning Britishness and citizenship, this thesis considers the influence of the dualistic tradition on citizenship theory and highlights the exclusionary nature of citizenship as founded in this paradigm. Working within this dualistic paradigm means that the lives and practices of being a citizen are not captured, creating an exclusionary cycle whereby the concept excludes the lives of many citizens, and many individuals are excluded from being a citizen as defined by the concept. This thesis used participatory, visual and online methods to explore belonging and exclusion with young people around England. Informed strongly by the field research, this thesis analyses citizenship as defined through dualistic and embodied paradigms and considers the potential of an embodied concept of citizenship for engaging young people.

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Yes / Visual representations of prisons and their inmates are common in the news and social media, with stories about riots, squalor, drugs, selfharm and suicide hitting the headlines. Prisoners’ families are left to worry about the implications of such events on their kin, while those incarcerated and less able to understand social cues, norms and rules, are vulnerable to deteriorating mental health at best, to death at worst. As part of the life-story method in my research with offenders who are on the autism spectrum, have mental health problems and/or have learning difficulties, and prisoner’s mothers, I asked participants to take photographs, reflecting upon their experiences. Photographs in this case, were primarily used to help respondents consider and articulate their feelings in follow-up interviews. Notably, seeing (and imagining) is often how we make a connection to something (object or feeling), or someone (relationships), such that images in fiction, news/social media, drama, art, film and photographs can shape the way people think and behave – indeed feel about things and people. Images and representations ought to be taken seriously in researching social life, as how we interpret photographs, paintings, stories and television shows is based on our own imaginings, biography, culture and history. Therefore, we look at and process an image before words escape, by ‘seeing’ and imagining. How my participants and I ‘collaborate’ in doing visual methods and then how we make meaning of the photographs in storying their feelings, is insightful. As it is, I wanted to enable my participants to make and create their own stories via their photographs and narratives, whilst connecting to them, along with my own interpretation and subjectivities. / The Leverhulme Trust RF-2016-613\8

This study examined the process of design for general classroom facilities in American four-year public higher education institutions. Combining grounded theory, case study methods, visual methods, and portions of the Authentic, Action-Oriented, Framing for Environmental Shifts Method (Watt, 2015), I was able to address the four research questions posed in this study. I conducted interviews with participants involved in specific general classroom facilities design/construction while asking participants to co-create a diagram of the steps of the process. The data collected from this process produced the Train Model of Design for General Classroom Facilities. The process begins with the specifics of the institution or college and its chosen direction. The conditions specific to the institution act as a departing station for the process. The conditions specific to the wider context function as the rails on which the train moves. The rails are held together by crossties consisting of the constant collaboration of the triumvirate and stakeholders. A triumvirate consisting of the project manager, the construction manager, and the representative from the academic department move the project through each phase of the design process. These decision-makers functions as the conductor of the train, driving the process while feeding it two distinct types of fuel: budget and time. The triumvirate must continuously monitor the fuel supply to reach the end of the process. In addition, the triumvirate continuously monitors the passengers, to incorporate their feedback into the trip. The stages of the process function similarly to boarding and disembarking on a train. In Stage 1 you prepare to leave the station. You make a case for what travels on the train with you and what gets left at home. You also determine the fuel needs of the train by setting the project budget and schedule. Stage 2, or Making the Space, consists of the travel to the final destination, carrying along those well-laid plans from Stage 1. The triumvirate drives the train while carefully monitoring the fuel levels. You can make a few minor adjustments once you have left the stations, based on feedback from the passengers, but drastically altering the plans is not a viable option. The type of train you drive represents the different ways in which the process can play out at specific campuses. A passenger train works differently compared to a freight train. The number and sequence of steps in the process of design will vary depending on the type of project you are undertaking (new construction vs. renovation), the available state procedures, and the timing of your procurement of a construction management firm (i.e. the different types of trains you can take). The final destination of the train is the completed general classroom facility. / Ph. D.

Researchers have taken a particular interest in children’s drawings as a means of representing and communicating knowledge and perspectives but a review of literature reveals that researchers routinely use drawings as a way of obtaining data without considering their function or value. This ESRC-funded research aims to explore drawing as a method of accessing children's perspectives and has three central research objectives which consider methodological and analytical factors relating to the use of children’s drawings as a research tool. These are: to develop a principled approach to analysing and interpreting children’s drawings, to create guidelines for the use of drawing as a research tool, and to gather children’s perspectives on play through the method of drawing. The research objectives were achieved by asking the following three questions: How can children’s drawings be analysed using a principled approach? What are the major factors to be considered when using drawing as a research tool? What can drawings reveal about children's perspectives on play? The study involved two visits to the homes of eight preschool children aged four. The sample included four girls and four boys from central and north-east Scotland with half of the families being categorised as being of low socioeconomic status. Visits were flexible and unstructured allowing the child autonomy regarding our level of interaction and the types of activities (such as free play and conversation) with which they wished to engage. The second visit included a prompted drawing activity in which I invited children to express their perspectives on play. The topic of play was chosen (i) to offer children a meaningful research activity to investigate the issues surrounding the method, (ii) to explore the task of representing an abstract, yet familiar, concept and how this may influence children’s drawings and representations of play, and (iii) as an extension of the ESRC project Young Children Learning with Toys and Technology at Home (Plowman et al., 2012) by giving greater emphasis to children's own perspectives on play and exploring the ways in which this can be achieved. My theoretical approach is not to consider drawings as reproductions of reality, but to value and attempt to understand children’s drawings as a semiotic vehicle in which messages are created and conveyed during the drawing process through representation and signification. Informed by social semiotics (Kress & van Leeuwen, 1996) the research presents an innovative four-step approach to analysing children's drawings (4-SASA). The protocol, a key contribution of the research, was developed to promote a more systematic analysis, involving (i) isolating signs within drawings through manual annotation, (ii) documenting the child’s understanding of signs and the significance attributed to them, (iii) organising signs using specific categories of social semiotic analysis (mode, size, colour, salience) and identifying the child’s motivation and interest for specific sign production, and (iv) synthesis of the child’s perspectives from steps 1-3. Post hoc methodological examinations elucidated the following four key factors to be considered when using young children’s drawings: (i) contextual sensitivity of the drawing process, (ii) children’s perceptions of the research task, (iii) the complex task of representing an abstract and elusive concept such as play, and (iv) whether there is a fundamental difference between drawing spontaneously (non-commissioned) and drawing on request. Evidence from the study supports previous literature in demonstrating the potential of drawing as a method of accessing children’s perspectives. However, findings suggest that rather than routinely selecting drawing as a method for representing children’s perspectives, researchers need to be more thoughtful about the ways in which factors such as the social and contextual framing of drawing and approaches to data collection can affect research outcomes. The thesis concludes by discussing how these emerging issues impact research outcomes, along with implications for future implementation and analysis of drawings.

Bakgrund: Sjukhusens vårdavdelningar är den sista vårdplatsen för många människor, vilket innebär att många också dör i den kontexten. Organisationen är i huvudsak utformad för akutsjukvård och vård i livets slutskede är inte prioriterat, vilket gör att akutsjukvårdsmiljön är sämre utformad för den döende personen och närstående. Det finns behov av fler studier som fokuserar på vård i livets slutskede från dessa vårdkontexter.                                                                                                                                                                                                   Syfte: Syftet var att utforska närståendes erfarenheter av vad som är betydelsefullt i vårdmiljön inom akutsjukvården vid vård i livets slutskede. Metod: Den här studien är kvalitativ och designad utifrån tolkande beskrivning. Två akutsjukvårdsavdelningar i södra-mellersta Sverige rekryterades. Nio närstående, sex kvinnor och tre män, i åldrarna 23-63 år, deltog i studien. De blev individuellt intervjuade vid ett tillfälle. Vid intervjun användes fotoelicitering med utgångspunkt från bilder de själva hade tagit. Intervjuerna spelades in digitalt (ljud) och transkriberades ordagrant. Tolkande beskrivning användes för analys av materialet. Resultat: Närståendes erfarenheter av vårdmiljön presenteras i tre mönster, vilka är relaterade till varandra: Sensoriska upplevelser i den fysiska vårdmiljön som inkluderar visuella intryck, ljud och oljud samt ljus; Utrymme för privatliv och sociala relationer i den personliga vårdmiljön och avslutningsvis; Personalen som representanter för den institutionella vårdmiljön som omfattar förhållningssätt, möjliggöra orientering samt struktur och kontinuitet. Slutsats: Studien påvisar tre mönster som omfattar närståendes erfarenheter av det som är betydelsefullt. Betydelsen av sensoriska upplevelser, privatliv och sociala relationer samt personalen förhållningssätt och agerande beskrivs. Erfarenheter i och av vårdmiljön kunde öka eller minska deras stress i en svår livssituation. Utifrån dessa fynd är det av stor betydelse med ökad medvetenhet hos personalen om hur viktig vårdmiljön är och att miljön för vård i livets slutskede vid akutsjukvårdsavdelningar behöver uppmärksammas och tas om hand i större omfattning. / Background: Hospitals are and will continue to be the last place for care for many people, which also means that a lot of people die in these settings, within organizations for acute care. The main focus is not care at end-of-life and it is not prioritized, which means that these acute care environments not are adapted to the needs of dying persons and family members. More studies aiming at end-of-life care in acute care settings are needed.              Aim: The aim with this study was to explore important dimensions of the care environment in acute care settings from family members´ perspective during end-of-life care.                                                                Method: The design for this study was qualitative and used interpretive description. We recruited two acute care units from different hospitals in south-mid Sweden. The participants were nine family members, six women and three men, aged 23-63 years. They were at one occasion individually interviewed with the use of photo-elicitation and these photographs were participant-produced. These interviews were digitally audio-recorded and transcribed verbatim. The interviews were analysed with interpretive description.                                               Findings: These findings show family members´ experiences of the acute care environment, as described in three, interrelated patterns: Sensory experiences in the physical care environment including visual impressions, sound and noises, lighting; Space for privacy and social relations in the personal care environment; and Staff as representatives for the institutional care environment including attitude and manner, orientation, and structure and continuity.                                                                                                                                                              Conclusions: According to these findings three patterns are described from family members´ perspective, increasing or decreasing their distress in a demanding situation. Sensory experiences, privacy and social relations are of importance, just as staff. In line with these findings it is crucial with increased awareness among staff of how important the care environment is and the need for focusing more on and taking care of the end-of-life care environment in acute care settings. / Forskningsprogrammet DöBra / Plats och rum för vård i livets slutskede

This study presents a new perspective on work practice in conceptual art. Using ethnographic evidence from five visual artists, the study used a combined visual arts and practice orientated perspective to explore the materiality of their everyday work and the sociomaterial practices shaping it. Close scrutiny is given to the forms of expertise embedded in this through concepts of knowing-in-practice and epistemic objects. Emerging from the findings is clearer understanding of how an arts-based methodology might enhance knowledge about artists’ knowing-in-practice. Popular representations of contemporary artists often ignore the realities of precarious work. This is reflected in the professional education of artists with its concentration on studio-based activities and emphasis on the production and products of artmaking. This study reconfigures and reconceptualises the work of artists as assemblages of sociomaterial practices that include, but are not limited to artmaking – so providing a different representation of the work of artists as a continuous collaboration of mundane materials. The study identified seven sociomaterial practices, defined as movement-driven; studio-making; looking; pedagogic; self-promotion; peer support; and pause. As these practices are subject to ever-changing materialities, they are constantly reassembled. Analysis revealed hidden interiors of underemployment and income generation to be significant factors embedded in the mundane materialities of everyday work, revealing resilience and adaptability as key forms of expertise necessary for the assembling of practices. Further, the arts-based methodology of ‘integrated imagework’ created ways of visually analysing the materially-mediated, socially situated nature of knowing in practice, and demonstrated how relational concepts relating to knowing-in-practice might be better analysed. Findings indicate how the professional education of artists – particularly the way the workplace of the studio is understood – could be re-envisioned to support the fluidity of contemporary artistic practices. The studio itself is a form of knowledge – ever changing – forming and being formed by the practices of artists. Adopting this view of studio-based education would be a radical departure from current studio-based pedagogies in contemporary art education. Further, resilience – the capacity to sustain practices that are emergent and constantly unfolding – becomes a form of expertise central to the professional education of artists.

Notre thèse évoque les usages d'Internet des préadolescents âgés de 11 à 14 ans, dans toute leur complexité d'une manière anthropologique et ethno-qualitative. D'une part, elle présente une démarche scientifique appliquée et ses principes en se focalisant sur le courant méthodologique des Visual Methodologies, et plus particulièrement sur les méthodes visuelles participatives utilisées durant l'étude dans deux collèges publics bordelais. Et d'autre part, elle fournit l'analyse des résultats de cette étude afin de démontrer comment, grâce à la création de collages et de dessins et aux entretiens menés avec la technique « dessin/collage-élicitation », les préadolescents ont pu construire un modèle métaphorique de leur lien avec Internet. Notre thèse contribue à la compréhension des dynamiques sociales, culturelles et identitaires qui se créent à travers les dispositifs en ligne et se manifestent chez le public des préadolescents. Nous examinons la façon dont le public en question, à travers ses interactions numériques, comportements, routines, jeux, construit un espace culturel en ligne et comment, à leur tour, les différentes formes d'activités et d'expression influencent leur monde : leurs relations, leur identité et leur quotidien. / This thesis discusses preteens' (aged from 11 to 14 years old) uses of the Internet in all their complexities and in anthropological and ethno-qualitative ways. Firstly, it presents a scientific approach and it's principles by focusing on the Visual Methodologies, especially on the participatory visual methods used during the study In two public schools in Bordeaux. Secondly, it provides the analysis of the results of this study to demonstrate how, through the creation of collages and drawings, and interviews with the technical "drawing/collage-elicitation", preteens were able to build a metaphorical model of their relation with the Internet. This thesis contributes to a better understanding of the social and cultural dynamics between the identity created online and the one developed in the preteens' ordinary lives. We examine how this public, through its digital interactions, behaviours, routines, and games, builds a cultural space on the Internet and how the different forms of activities and expressions influence their world: their relationships, their identities and their lives.

The transitions of young people to adulthood in the UK are a political threshold that has received much public attention. The trend for young people to abstain from elections relative to older generations is one example of the many reasons young people’s politics have come under the microscope of researchers who claim that the manner of young people’s transitions to citizenship represents an incipient crisis for the UK as a democratic system (Farthing, 2010; O’Toole, 2015, p. 175). This thesis responds to calls for more research into young people’s lives as sites for political subjectivity as well as, in the UK, for explorations of the main question in the field of young people’s politics: the extent and nature of young people’s relative disengagement from politics, and their marginalization from institutional politics in general The theoretical basis for this research project is a constructionist framework based on Bourdieu’s methods for uncovering social worlds (Bourdieu, 1996, p. 1) that also attempts to approach young people as equals in a political sense (Rancière, 1991, p. 229). Focus groups with young people at one vocational college, one secondary school and one youth group in the UK, utilizing participant photography as a data generation technique, provide the data for this study in an everyday politics approach. Young people’s perceptions of their everyday worlds are developed into broader discussions of political subjectivity, perceptions and actions.

Craftsmanship is recognised as a source of practical wisdom that can inform sustainable management and use of natural resources. However, there are many outstanding questions about how the skills and tacit knowledge embedded in craftsmanship can facilitate social-ecological resilience for sustainability. It has also proved difficult to access and articulate the knowledge embedded in craftsmanship. With this study I explore the skill and tacit knowledge components of craftsmanship as a repository of cultural-ecological memory through two case studies: the duodji, or handicrafts, produced by a Sámi craftswoman living in Jokkmokk, Sweden, and the fishing style of a fisherman in the Stockholm archipelago. As such, the research has two main aims: 1) to understand how the skills and tacit knowledge embedded in craftsmanship function as carriers of cultural-ecological memory; 2) to explore ways of mobilising and capturing these knowledge types by making them visible through the use of visual methodologies like photography. The research highlights the value of the accumulated knowledge and the portfolio of skills that are components of craft practices. Visual methods, in particular photo elicitation, invite participants to link their craftsmanship to their culture and identity. In doing so, visual methods contribute a new perspective on the role of craftsmanship as a carrier of cultural-ecological memory because the craft practices themselves become reservoirs of tacit knowledge and embodied skills that can be drawn upon in responding and adapting to changes or disturbances in the social-ecological system.