Terrorism, in one way or another, touches everyone's lives. Its affect could be as small as watching media stories on the nightly news and waiting longer in a security line at the airport or as significant as losing a loved one in an attack. As individuals come to grips with living with increased terrorist violence, individual nation-states and the international community have to prepare themselves to prevent, react to, and counter terrorism. This thesis examines whether international law provides an adequate framework for states victimized by terrorism to respond within the law. It highlights how international law currently addresses terrorism and the benefits and disadvantages of applying national and transnational criminal law and international human rights law compared with international humanitarian law to terrorism. Three case studies, the 11 September 2001 attacks on the United States, the 5 September 1972 attack against Israeli athletes in Munich, Germany, and the 11 March 2004 bombings of the train system in Madrid, Spain, investigate how international law has been used in actual terrorist incidents, lending insight into how international law has been interpreted and used in the face of terrorism. They also allow analysis of other factors besides international law that impact a victim-state's response. Finally, this thesis proposes criteria that can be weighed by victim-states and the international community in order to develop an appropriate response to terrorist incidents and recommendations for modifications to international law that will maintain international law's relevance as the international community fights terrorism. / Master of Arts

This research examines whether study of the controversial evolution of energy systems and emerging energy technologies can contribute to the debates in energy policy and STS, especially those concerning the ongoing search for solutions to energy and environmental problems through the promotion of low-carbon technologies. The focus of this study is on the emergence and growth of a technological project in the renewable energy sector, Wave Hub in Cornwall, UK. The analysis, informed by actor-network theory, helps to explore the emergence of Wave Hub as a complex socio-technical system and a macro-actor. The case study reveals that the project is associated with various controversies and problematic temporalities. The construction of credibility and viability of the technological project is explored, including the 'public face’ of the project, various meanings attributed to Wave Hub and its symbolic capital. The discourse around Wave Hub is critically reviewed, as regards stakeholder assumptions about the technological feasibility of the project. Consideration is also given to the political dimensions of credibility, including the promissory role of policy discourse. An actor-network theory approach helps questioning the idea of policy as ‘macro context’; the utility of an analytical approach to policy as an actant is thus investigated. I ask to what extent, and in what sense, policy can be understood as an element of an actor-network, not merely a context. Furthermore, this helps to build a critical discussion around the evolution of the actor-network with policy as its active element and critically assess to what extent this approach might help to understand the destiny of a technological project. The politics of expertise in the case of Wave Hub is shown to play a critical role for the ‘credibility-economy’ of the project. Exploring how the expertise is understood and performed in the case of Wave Hub, I consider the question of the self-representation of experts and how the expert knowledge and the expert status are constituted. Studying the contestation of expertise and its categorisation helps to analyse various forms of collaboration formed around Wave Hub, but also antagonism which was revealed between different groups of experts.

This study har aimed to examine why there are still so few women working full time as firefighters in the Swedish municipal firefighting services, even though there has been a political goal for about twenty years to increase gender equality in firefighting. The study uses a structured focused comparison of two groups of municipal firefighting organizations to compare them against each other in order to understand why they differentiate, and identify factors that has made some organizations more successful than others. The study uses Lundquist’s (1987) simplified actor model’s three factors, understand-can-will, to explain the failed implementation. The study concludes that the simplified actor model can be used to explain differences in implementation and to identify factors that have led to successful implementation, and that the most important one seems to be the understanding of the problem. However, they seem to enable each other in a way that makes it impossible to say that they could create successful implementation if one was lost.

A dissertação Clarice Através do Ator traz pesquisa teórica, coleta de entrevistas, análise e descrição de procedimentos criativos para o trabalho do ator em montagens teatrais com a literatura de Clarice Lispector. A Paixão Segundo G.H. com Mariana Lima, direção Enrique Diaz; Simplesmente Eu, Clarice Lispector com Beth Goulart, supervisão Amir Haddad; e, Estrelas com Marilyn Nunes, direção Julia Varley - apresentados em 2002, 2009 e 2013, respectivamente - são as montagens escolhidas para amplificar o diálogo com a experiência prática da própria pesquisadora, diretora de montagens com a obra clariciana, O Ovo e a Galinha e Brincar de Pensar, realizadas em 2010 e 2014. Constam entrevistas com Enrique Diaz, Beth Goulart, Marilyn Nunes, Isabel Wilker e Lívia Vilela. / The thesis Clarice through of the actor presents theoretical research, collecting interviews, analysis and description of creative procedures for the actor to work with writings of Clarice Lispector in the theater. A Paixão Segundo G.H., with Mariana Lima, director Enrique Diaz; Simplesmente Eu, Clarice Lispector with Beth Goulart, supervision Amir Haddad; and Estrelas with Marilyn Nunes, director Julia Varley - presented in 2002, 2009 and 2013, respectively - are the plays chosen to amplify the dialogue with practical experience of the researcher, director of two plays with the literature of Clarice, O Ovo e a Galinha and Brincar de Pensar, presented in 2010 and 2013. The text include interviews with Enrique Diaz, Beth Goulart, Marilyn Nunes, Isabel Wilker and Livia Vilela.

Partindo do caráter híbrido do Teatro de Animação, o presente estudo analisa aspectos de procedimentos criativos que se apresentam como especificidades na trajetória do ator rumo à criação da cena nesta linguagem. Para tanto, vale-se de pesquisa de campo realizada nos seguintes grupos teatrais dedicados ao Teatro de Animação e atuantes na cidade de São Paulo: Cia. Truks, Sobrevento, Morpheus Teatro e Seres de Luz Teatro. Neles foram observados processos de criação de espetáculos, bem como procedimentos em treinamentos e oficinas. O estudo ampara-se ainda em pesquisa de escopo teórico referente às relações estabelecidas entre artes plásticas e cênicas no Teatro de Animação contemporâneo e aos métodos de trabalho e preparação do ator, bem como aspectos concernentes a sua atuação com objetos, bonecos, máscaras e outros materiais. O resultado revela uma reflexão verticalizada em direção às particularidades que se apresentam nos procedimentos de criação da cena pelo ator-manipulador. / Considering the hybrid nature of the Theater of Animation , this present work analyzes the scene conception through specific creative procedures usually performed by the actor of this kind of language. In order to achieve this aim, it presents a field survey accomplished at the following Theater of Animation companies of São Paulo: Cia. Truks, Sobrevento, Morpheus Teatro e Seres de Luz Teatro. In these companies processes of scene conception were registered, as well as procedures applied in trainings and workshops. This study is based in theoretical research about the relationship between visual arts and theater art in the contemporary Theater of Animation and the working method of the actor. It also investigates his relationship with objects, puppets, masks and other materials. The result reveals a deep reflection about the peculiarities of scene creation procedures performed by the puppeteer actor.

<p> </p><p>The generation of domestic waste is at present less than 1 kg/day per person in Thailand, but generated amounts keeps steadily growing. This trend is closely connected to an increasing population and economic growth, something that is creating waste management issues. The Asian Institute of Technology (AIT) outside Bangkok has the potential of being a leader in sustainable development in the Southeast Asian region, however a substantial opportunity is being missed – best environmental practices are currently not prioritized. Only 4 % of the total waste generated on campus is recycled at AIT, 3 % is composted and 93 % is taken to the municipal waste disposal site. Fluorescent light bulbs and other hazardous household waste are disposed on the campus dumpsite. Some measures have been undertaken in order to improve the solid waste management (SWM) at AIT, e.g. a new waste collection facility has been built in the outskirts of campus, where more space is provided in order to facilitate waste separation.</p><p>The field research for this study was carried out at AIT and the goal was to examine the SWM network, the problems and to analyse the recycling habits on campus. To investigate and visualize the actors involved in the SWM at AIT, the Actor-Network theory (ANT) was applied as an analytical framework. The generation of waste is the macro actor i.e. the reason for the existence of SWM. Other actors are the AIT students and staff (produce waste), the new Campus Environment and Development Committee – CEDC (the controlling part), environmental awareness (attitude towards recycling), and waste collectors.</p><p>The results from the survey witness of that people have a positive but somewhat cautious attitude towards the sustainability of source separation. Separating waste at source is a key mechanism for solving the SWM problem but people are uncertain of how to separate each waste fraction. There is a strong need to designate a coordinator of the SWM at AIT and as long as there is a lack of leadership, a goal of environmentally sustainable practices cannot be reached. The new CEDC is currently not performing any actions towards an integrated SWM.</p><p> </p> / <p> </p><p>Idag produceras mindre än ett kilo hushållsavfall per dag och person i Thailand men mängden växer stadigt med ökad befolkning och bättre ekonomiska förutsättningar vilket leder till sophanteringsproblem. Asian Institute of Technology (AIT) i Thailand har  potential att vara en ledstjärna inom hållbar utveckling i Sydostasien men en stor möjlighet går om intet – den bästa miljömässiga tillämpningen i sophanteringsfrågan prioriteras inte. Endast 4 % av soporna återvinns på AIT, 3 % komposteras och 93 % hamnar på den kommunala soptippen. Lysrör och annat farligt hushållsavfall dumpas på universitetets soptipp. Vissa åtgärder har vidtagits för att förbättra sophanteringen på AIT, t.ex. har en ny sopanläggning byggts i utkanten av campus med ökad kapacitet för sopsortering.</p><p>Fältarbetet för uppsatsen genomfördes på AIT och målet var att kartlägga sophanteringen, nätverket kring den, problemen runtom, samt att analysera återvinningsbeteendet på detta universitetscampus. För att gestalta och utreda aktörerna som är involverade i sophanteringen på AIT, använde jag Actor-Network theory som ett analytiskt verktyg. Själva produceringen av hushållssopor är makroaktören, dvs. skälet till sophanteringens existens. Andra aktörer är studenterna och de anställda på universitetet (skapar sopor), den nya kommittén för Miljö och Utveckling på campus (den kontrollerande delen), miljömedvetenhe (inställningen till återvinning) och sophämtarna.</p><p>Resultaten från enkätunderökningen vittnar om att människorna har en positiv men försiktig inställning gentemot hållbarheten i källsortering. Källsortering är grunden för att lösa sophanteringsproblematiken men folk är osäkra på hur de ska sortera avfallet. Det finns ett stort behov av en avfallshandläggare för sophanteringen på AIT och så länge bristen på ledarskap kvarstår, kan inte målet om miljömässig hållbarhet nås. Den nya kommittén för Miljö och Utveckling på campus genomför för tillfället inga handlingar i riktning mot en integrerad sophantering.</p><p> </p>

Med det här kandidatarbetet vill vi belysa en alternativ väg att gå för att ge även de karaktärer som inte är knutna till det narrativa en större och mer betydelsefull plats inom digitala spel. Tillsammans med Bruno Latours Actor-Network Theory undersöker vi relationer mellan bland annat tid, plats och den vardagliga människan. Med observationer som startpunkt undersöker vi hur en identitet kan brytas ner för att omformas till något nytt, något som kan skapa en känsla av unikt och levande till den annars relativt tomma existens som är en ickespelbar karaktär. För att ta det här steget blir begreppet persona en viktig beståndsdel i skapandet av något mer lekfullt och livfullt. Genom att forma identiteter baserade på observationer och sedan förstå relationen mellan dessa identiteter och dess fiktiva egenskaper skapar vi personas med egna behov och bekymmer.   Detta kandidatarbete kommer att förklara olika metoder och processer till att skapa karaktärer och sedan analysera och diskutera resultatet i form av animationer där individers unika egenskaper och attribut förklaras och visualiseras. / With this bachelor thesis we want to shine a light upon an alternative path to take when it comes to giving characters that is not hard knitted to the narrative a greater and more meaningful place inside a digital game. Together with Bruno Latour's Actor-Network Theory we research the relations between time, place and the everyday person. With observation as a starting point we look at how we can break down an identity to reshape and make something new from it, something that can create a lifelike and unique feeling in the otherwise relatively plain and empty existence that is a non-playable character. For us to be able to take that step we include the concept of persona, an important factor in creating something more full of fun and life. Through the shaping of identities based on observation and understanding the relationship between these identities and their fictive attributes a persona is created with its own needs and worries.  This bachelor thesis will also explain the methods and processes needed to create characters followed by analysing and discussions based on the results, the animation of the unique attributes of individuals and how it is explained and visualised.

The purpose of this thesis is to investigate if increasing complexity for a problem makes a difference for a learning system with dual parts. The dual parts of the learning system are modelled after the Actor and Critic parts from the Actor-Critic algorithm, using the reinforcement learning framework. The results conclude that not any difference can be found in the relative performance in the Actor and Critic parts when increasing the complexity of a problem. These results could depend on technical difficulties in comparing the environments and the algorithms. The difference in complexity would then be non-uniform in an unknowable way and uncertain to use as comparison. If on the other hand the change of complexity is uniform, this could point to the fact that there is an actual difference in how each of the actor and critic handles different types of complexity. Further studies with a controlled increase in complexity are needed to establish which of the scenarios is most likely to be true. In the discussion an idea is presented of using the Actor-Critic framework as a model to understand the success rate of psychological treatments better. / Syftet med den här uppsatsen är att undersöka om en ökande komplexitet på ett problem, innebär en skillnad för ett lärande system med två samverkande. De två samverkande delarna som används är från “Actor” och “Critic”, som kommer ifrån algoritmen “Actor-Critic”. som implementeras med hjälp av ramverket “Reinforcement learning”. Resultaten bekräftar att det inte verkar vara någon skillnad i relativ effektivitet mellan “Actor” och “Critic” när komplexiteten ändras mellan två problem. Detta kan bero på tekniska svårigheter att jämföra miljöerna i experimentet och algoritmerna som används. Om det finns problem med jämförelserna skulle skillnaden i komplexitet vara icke-uniform på ett obestämbart sätt, och att kunna göra jämförelser blir därför svårt. Däremot om skillnaden i komplexitet är uniform, skulle det kunna tyda på det kanske finns en skillnad i hur “Actor” och “Critic” hanterar olika typer av komplexitet. Vidare studier med kontrollerade ökningar för komplexiteten är nödvändiga för att fastställa hur “Actor-Crtic” algoritmen samverkar med skillnader i komplexitet. I diskussionen presenteras iden att använda Actor-Critic modellen för att förstå metoder för psykologiska behandlingar bättre.

Partindo do caráter híbrido do Teatro de Animação, o presente estudo analisa aspectos de procedimentos criativos que se apresentam como especificidades na trajetória do ator rumo à criação da cena nesta linguagem. Para tanto, vale-se de pesquisa de campo realizada nos seguintes grupos teatrais dedicados ao Teatro de Animação e atuantes na cidade de São Paulo: Cia. Truks, Sobrevento, Morpheus Teatro e Seres de Luz Teatro. Neles foram observados processos de criação de espetáculos, bem como procedimentos em treinamentos e oficinas. O estudo ampara-se ainda em pesquisa de escopo teórico referente às relações estabelecidas entre artes plásticas e cênicas no Teatro de Animação contemporâneo e aos métodos de trabalho e preparação do ator, bem como aspectos concernentes a sua atuação com objetos, bonecos, máscaras e outros materiais. O resultado revela uma reflexão verticalizada em direção às particularidades que se apresentam nos procedimentos de criação da cena pelo ator-manipulador. / Considering the hybrid nature of the Theater of Animation , this present work analyzes the scene conception through specific creative procedures usually performed by the actor of this kind of language. In order to achieve this aim, it presents a field survey accomplished at the following Theater of Animation companies of São Paulo: Cia. Truks, Sobrevento, Morpheus Teatro e Seres de Luz Teatro. In these companies processes of scene conception were registered, as well as procedures applied in trainings and workshops. This study is based in theoretical research about the relationship between visual arts and theater art in the contemporary Theater of Animation and the working method of the actor. It also investigates his relationship with objects, puppets, masks and other materials. The result reveals a deep reflection about the peculiarities of scene creation procedures performed by the puppeteer actor.

A dissertação Clarice Através do Ator traz pesquisa teórica, coleta de entrevistas, análise e descrição de procedimentos criativos para o trabalho do ator em montagens teatrais com a literatura de Clarice Lispector. A Paixão Segundo G.H. com Mariana Lima, direção Enrique Diaz; Simplesmente Eu, Clarice Lispector com Beth Goulart, supervisão Amir Haddad; e, Estrelas com Marilyn Nunes, direção Julia Varley - apresentados em 2002, 2009 e 2013, respectivamente - são as montagens escolhidas para amplificar o diálogo com a experiência prática da própria pesquisadora, diretora de montagens com a obra clariciana, O Ovo e a Galinha e Brincar de Pensar, realizadas em 2010 e 2014. Constam entrevistas com Enrique Diaz, Beth Goulart, Marilyn Nunes, Isabel Wilker e Lívia Vilela. / The thesis Clarice through of the actor presents theoretical research, collecting interviews, analysis and description of creative procedures for the actor to work with writings of Clarice Lispector in the theater. A Paixão Segundo G.H., with Mariana Lima, director Enrique Diaz; Simplesmente Eu, Clarice Lispector with Beth Goulart, supervision Amir Haddad; and Estrelas with Marilyn Nunes, director Julia Varley - presented in 2002, 2009 and 2013, respectively - are the plays chosen to amplify the dialogue with practical experience of the researcher, director of two plays with the literature of Clarice, O Ovo e a Galinha and Brincar de Pensar, presented in 2010 and 2013. The text include interviews with Enrique Diaz, Beth Goulart, Marilyn Nunes, Isabel Wilker and Livia Vilela.