There has long been a concern about the research-practice gap within Library and Information Science (LIS). Several authors have highlighted the disconnection between the world of professional practice, interested in service and information system development, and the world of the academy, focused on the development of theory and the progress of the discipline. A virtual organization, such as a collaboratory, might support collaboration between LIS professionals and academics in research, potentially transforming the way research between these two groups is undertaken. The purpose of this study was to examine how sociotechnical aspects of work organization influence the initiation, development, and conclusion of collaboration between LIS academics and professionals in distributed research projects. The study examined the development of three collaborative projects from the start to completion in two countries, Italy and another European country. The data analysis aimed at deriving implications for the further development of theory on remote scientific collaboration, and for the design of a sustainable collaboratory to support small-scale, distributed research projects between LIS academics and professionals. The research design, data collection, and data analysis were informed by Actor- Network-Theory (ANT), in particular by Callon’s model of translation of interests. Qualitative interviews and analysis of literary inscriptions formed the key sources of data for the three case studies. The analysis of how and why collaborations between LIS academics and professionals initiated and developed revealed that the initial motivation to pursue collaboration has to do with the lack of economic and organizational resources on either or both sides, and with a genuine interest in a topic by both academics and professionals. The case studies in this study were decentralized and bottom-up projects in which LIS academics and professionals pursued collaboration because they had a genuine interest in a given topic and not because they were mandated by their employers, or they hoped to be acknowledged and promoted by them on the basis of their participation in the project. Market conditions and/or institutional pressures did not exert much influence on the start and development of these collaborations, although one project was influenced by political considerations and funding conditions in healthcare. The patterns emerged from the findings of the three cases underpin the development of a sociotechnical framework aimed at providing a better understanding of remote collaboration between academics and professionals not only in LIS but also in other fields affected by the research-practice gap. / <p>Akademisk avhandling som med tillstånd av samhällsvetenskapliga fakulteten vid Göteborgs universitet för vinnande av doktorsexamen framläggs till offentlig granskning kl. 13.15 torsdagen den 29 april 2010, i hörsal C203, Högskolan i Borås, Allégatan 1, Borås.</p>

This dissertation concerns a certain experienced (sub)reality, a reality which emerged from something “in between”, from a confluence of factors - the project Gender on Stage, a particular actor education programme and myself in the role of observer. The project Gender on Stage started as an interdisciplinary study between the National Academy of Mime and Acting in Stockholm and the Department of Theatre Studies and the Department of Nordic Languages at Stockholm University. It was supported by the Swedish Research Council, and its purpose was to investigate gender in actor education. Actor education is situated between traditional theatre history and trends about the future, between aesthetic ideals and a commercial market. In addition, as was described in the outline of the project, actor education must deal with a long history of male dominance. Actor education could be visualised as the epitome of a cultural production of gender, a site where one has to explicitly deal with discourses of body and language, male and female, self and other, memories and emotions, pleasure and desire. I have stressed gender in actor education as being deeply interrelated with the notion of cultural hegemony, historical discourses of acting as well as gender, myths, and unconscious themes. Beside theories of Simone de Beauvoir, Judith Butler, Sue Ellen Case and Julia Kristeva, the study invokes post-structural notions of “present absence” as well as Freud’s ideas on repression in terms of “the uncanny”. Stanislavsky’s theories of fantasy emotion and the Brechtian concepts of Verfremdung and Gestus were likewise taken into consideration. To resolve problems of confidentiality and ethics, I discuss certain significant observations, considering them to be unique situations, but also representative and symbolic acts. In discussing the gender construction, I put myself into play in the role of observer as a certain persona – a kind of converse representative and a “faceted mirror of the invisible”.

Implementation of intensive forestry (fertilization, cultivation of non-native tree species, and clone cultivation) on part of the forested land area in Sweden and an increased construction of wood-framed multi-storey buildings can contribute to reduce the net carbon dioxide emissions of the built environment. This thesis evaluates the acceptance of and interest in intensive forestry and multi-storey wood frames among different actors, and some of the underlying reasons for their approach. The results of quantitative and qualitative studies among members of the general public, private forest owners, architects, and contracts managers in Sweden are presented in six different papers. Both intensive forestry and multi-storey wood frames lack sufficient acceptance and compliance with relevant institutions such as priorities, norms, and regulations in the eyes of the studied actors. The acceptance of intensive forestry would be larger among members of the general public if they would perceive such practices to have less negative environmental effects and perceive a greater need to increase forest growth. Among the private forest owners, the interest to cultivate non-native tree species would be larger if there were more positive attitudes towards the economic consequences. Architects and contracts managers associate multistorey wood frames with several disadvantages and uncertainties, primarily with respect to fire safety, stability, durability, and sound proofing. The contracts managers’ perceptions have stronger implications for the prospects for wood frames, than the architects’ perceptions do. Promotional activities aimed to change such perceptions may improve the prospects for more wood framed multi-storey buildings in Sweden. The path dependency of Swedish multi-storey construction however implies that such activities are not enough for multi-storey wood frames to diffuse to greater extent. Broader changes to the wider context of the decisions taken in construction projects, e.g. to policy or economic environments, which change the priorities of the construction industry actors, are needed.

Sistemiška vaidmens kūrimo analizė, metodų kūrimas prasidėjo tik XX a. pradžioje. Aktoriaus rengimo mokyklų pradžia laikoma žymiausio aktorinio parengimo pedagogo, žymaus aktoriaus, režisieriaus K. Stanislavskio (1863 m.) sukurta savita sistema, kuri padarė įtaką visai teatro raidai. K. Stanislavskis turėjo daug savo pasekėjų ne tik Rusijoje, bet ir visame pasaulyje. Iš K. Stanislavskio sistemos išsivystė dvi teatro kryptys: 1. Psichologinis teatras (K. Stanislavskis, M.Čechovas, Š. Diulenas). 2. Fizinis teatras. (V. Meyerholdas, J.Grotowski, B.Brecht ir kt.). Šios kryptys turėjo didelę įtaką ir Lietuvos teatro mokyklos raidai. Nuo V. Boguslovskio, A. Sutkaus, A. Olekos-Žilinsko, J. Miltinio iki šių dienų Lietuvos teatro aktoriaus parengimas pakito nedaug, tačiau galima teigti, kad šiuolaikiniame Lietuvos teatre vyrauja režisūrinis teatras, kuriame svarbūs vizualūs ir muzikiniai/ritminiai sprendimai. Tačiau vaidmens kūrimo procesas daugiausiai remiasi psichologinio teatro metodais. Tiek aktoriams, tiek režisieriams svarbu, kad aktorius suvoktų savo uždavinį, suprastų spektaklio visumą, žadintų savyje emocinius išgyvenimus. Kad ir kaip nebepripažintų teatro kūrėjai K. Stanislavskio sistemos, aktoriai iki šios dienos ją laiko universaliausia ir patikimiausia mokykla. Taip pat galima pastebėti, kad režisieriai neieško individualaus metodo ir jo netaiko. Lietuvos aktorius yra išmokytas ir tebemokomas būti tikslia spektaklio vitražo dalimi. Studijų metu aktoriai supažindinami su... [toliau žr. visą tekstą] / Systematic analysis of role creation and methods development started just in the beginning of XX century. A unique system created by the most famous acting teacher, well known actor and director K. Stanislavski (1863) is believed to be the first impulsion for the acting schools introduction and thus made a big influence for the whole development of theatre. K. Stanislavski had many followers in the whole world, not only Russia. From K. Stanislavski’ system two types of theatre trends have evolved: 1) Psychological theatre (K. Stanislavski, M.Čechov, Š. Diulen) and 2) Physical theatre (V. Meyerhold, J.Grotowski, B.Brecht etc). These two trends were also influential for the development of Lithuanian theatre school. Since V. Boguslovski, A. Sutkus, A. Oleka-Žilinskas , J.Miltinis until these days the training of Lithuanian theatre actors has changed little, however, one could tell that in today Lithuanian theatre prevails staged type theatre where visual and musical or rhythm solutions are most important. On the other hand, the process of role creation is mostly based on methods from psychological theatre. Actors as well as directors care that the actor understands the wholeness of performance, stimulate inner emotional experiences. Accordingly, no matter how strong the disagreement of theatre founders for K. Stanislavski system would be actors still consider it as the most universal and reliable school. In addition, it is clear that directors do not try to find individual... [to full text]

The following thesis concerns the conceptualization of openness within the open access movement. Open accesscan be understood as a phenomenon or a movement that aims at changing the current system of scholarly communication.Consequentially, the movements goals arose in relation to the escalating serials crisis in scholarly communicationand the increasing power of commercial publishers. The purpose of the thesis is to study three centralopen access declarations with the aim of uncovering the different conceptualizations of openness found withinthese texts. Leaning on the theoretical position known as actor-network theory, the declarations role within a surroundingnetwork is explored by focusing on how openness as a concept has been produced and reproduced bycentral actors. Two overarching questions frames the study: How is openness conceptualized within the declarations?And how can openness, as a concept, be understood as an effect generated by a larger network?The first part of the study focuses on the first question. In order to provide an answer I have conducted athematically structured text analysis of the declarations. The results of this part show that openness, in relation toopen access, is part of a discourse where research is considered a public good. I claim that this indicates thatopenness is related to the larger questions of information freedom and the enclosure of intellectual commons.The purpose of openness is described within the declarations as contributing to mechanisms of decentralized controlover information, which in itself generates a greater efficiency and lower costs in regards to scholarly communication.The second part of the study is concerned with the larger, overarching network and in what way the conceptualizationof openness can be seen as a network generated effect. To answer this question I deploy the theoreticaltools provided by ANT. Focus lies on how the declarations relate to each other and on how central actors havecontributed to the conceptualizations. The results show that openness and open access has shifting meanings thathave been modified in various ways. They also show that actors through a collective negotiation process defineand shape the meaning of openness by circulating ideas on electronic dissemination and distributed processes

This project investigates the previously unrecognised significance of the ways in which the Embodied Theatre practices of Suzanne Bing (1885-1967) and Michael Chekhov (1891-1955) utilised forms of what I term Embodied Play as a constituent part of their actor training processes. A methodology is developed in the introduction which draws on Foucault's notion of genealogy and Feminist approaches to historiography in order to trace and review accounts of these often marginalised play practices in order to re-configure the contributions of Bing and Chekhov in historical terms. It also challenges notions of authenticity and singular 'ownership' of technique by considering the importance of collaborative cross-fertilisation with other practitioners. This research includes a broader exploration of the literature, histories and discourses about the variety of practices that are often problematically classified as Physical Theatre in relation to the identification of the key components of Bing and Chekhov's pedagogy. The first chapter presents this mapping in tandem with the argument that McDermott's term of Embodied Theatre is more appropriate for Bing and Chekhov's practice. The second chapter further refines the frame of analysis to Embodied Play. Chapters three and four consider how Chekhov and Bing respectively used forms of Embodied Play. Chapter five considers how Bing and Chekhov extended their methods of Embodied Play in training which led to radical approaches to working collaboratively with text and writers. It concludes that this movement from the use of play solely for the acquisition of discrete skill or character creation to extended forms of Embodied Play enabled them to train actors to work as empowered creators of small-scale performance in their Schools/Studios, and ultimately to engage in devising processes for professional productions. Consequently, this helps to fill the gap in scholarship on the early experiments in devised Embodied Theatre. In conclusion the focus on Bing addresses the either inadequate, or absent, analyses of her practice in many of the existing historical studies which are dominated by the patrilineal narratives of Jacques Copeau and Michel Saint-Denis. The consideration of Chekhov's practice also challenges the current discourse on play centring on Le Jeu and presents the argument for an expanded term able to consider different artists not just those from the French male lineage. Concurrently, this focus on Chekhov's use of Embodied Play has added to the scholarship on his pedagogic and theatre-making practices.

There have been recent contributions to the world city literature and the new economic geography literature that have focused on city connectivity and practicebased research, through concepts such as city actor-networks, relational geographies and project-led enquiries. As this literature is developing, this thesis aims to analyse and contribute to it by providing an empirical focus in two main themes that have so far been marginalised in these literatures – the city of Sydney, and the cultural industries. An alternative conceptualisation of world cities, namely ‘new urbanism’, which employs Actor-Network Theory, will be utilised in this thesis to ask the question, what are the actants of Sydney’s cultural industries (specifically the film and TV production industry), and how are they enrolled to create the spacing and timing of Sydney’s actor-networks? By answering this question, this thesis will contribute to the knowledge in three ways: theoretically, by adding weight to the alternative concepts of new urbanism and relational economic geographies; empirically, by studying two themes that have been hitherto underdeveloped in the existing literature; and methodologically, through new developing empirical agendas that cover the quantification of Sydney’s world city network and ANT-inspired ethnographic, ‘project-based’ enquiry.

In literature and popular discourse sustainable development debates have a habit of polarizing around conflicting understandings. On the one hand sustainable development is interpreted as an extension of dominant neoliberal agendas, on the other it is constructed as an alternative to the mainstream. This thesis works through these positions, to argue for an understanding of sustainable development in the spaces between; where hegemony and counterhegemony slip and slide, collide, disrupt and confuse. It is a thesis about the entanglements of sustainable development policy; a study in which I contend that sustainable development is best understood through the multiple sites of practice where policy is enacted. Drawing upon notions of messiness and bringing together actor-orientated sociology and livelihoods approaches, I explore sustainable development as it is negotiated through networks of actors and livelihoods in rural Cambodia. Specifically, I present a study of two projects implementing community fisheries as an instrument of sustainable development policy in two remote provinces of Cambodia. It is a study about the different actors responsible for implementing each project, as well as the life worlds of rural villagers affected by them. Through an in-depth analysis grounded in the diverse realities of people in particular places, I uncover the struggles through which sustainable development is negotiated. I expose a policy interpreted through multiple, overlapping simplifications and assumptions and uncover how these are simultaneously produced, recirculated, contested and transformed in practice. Significantly, I highlight the destabalising consequences of a policy which attempts to legislate away diversity or difference. Thus, I reveal the possibility of alternative realities finding expression through spaces otherwise characterised by domination.

Xing-ju literally means 'New Theatre' in Mandarin and denotes the non-traditional performing style in Taiwan. Xing-ju is regarded as the product of colonisation in Taiwan. The thesis began with the first emergence of Xing-ju in the Japanese colonial era at the beginning of the twentieth century, and went on to examine the development of Xing-ju and its sub-forms within a colonial historical context. Having gone through different colonial regimes, Xing-ju has developed into the local theatre form characterizing the hybridity of Taiwanese culture. My study aims to fill a gap in Taiwanese contemporary theatre history, to look at Xing-ju and its sub-forms from a post-colonial perspective, and to provide a continuous and complete Xing-ju history within a theoretical context. In addition, how Xing-ju has exemplified ‘Taiwaneseness’ while presenting multiple cultural characteristics is also examined. This thesis also draws on primary source data, obtained via field research, to analyse the characteristics of Xing-ju performances. Finally, while addressing my research questions through theoretical analysis, I also examine them through the lens of practical work. Inspired by critical syncretism, I experiment with an alternative way to explore the nature of Taiwanese culture and theatre form. With its hybrid cultural characteristics including Japanese Shinpa-geki, Chinese Peking Opera, Ge-zai Xi and Western theatre styles, I discuss how a definition of ‘Taiwaneseness’ emerges through Xing-ju.

Det finns ett missnöje och en kritik riktad mot hur Karolinska Institutet (KI) rekrytering av Paolo Macchiarini gick till och kritiker menar att det var personliga, informella kontakter som styrde istället för de formella kraven. Mot denna bakgrund väcktes ett intresse om hur nätverk inom Karolinska Institutet och forskningsvärlden i stort byggs och vad som skiljer ett professionellt nätverk från ett personligt. För att undersöka detta har denna etnografiska studie gjorts genom deltagande observationer av en forskargrupp på KI. Syftet med studien har varit att undersöka hur forskare på KI bygger professionella och personliga nätverk och hur dessa samspelar med varandra. De frågeställningar som studien utgår ifrån är; Hur bygger forskare på KI nätverk? Hur skiljer sig forskarnas professionella och personliga nätverk åt? På vilket sätt påverkar relationen mellan handledare och doktorand dessa nätverk? För att besvara dessa frågor har Actor Network Theory (ANT) och diskursanalys använts som teoretiskt ramverk. Teorierna ger en förklaring till hur forskare samspelar med varandra och dess omvärld inom en given kontext, samt vilka faktorer som påverkar deras agerande. Resultatet av studien visar på att forskare på KI bygger nätverk på flera olika sätt och är en del av olika nätverk samtidigt. Förutom de personliga och professionella nätverken kunde ytterligare tre nätverk identifieras och skillnaderna mellan dessa belysas. Resultatet visar även på hur relationen mellan handledare och doktorand skiljer sig från andra relationer. Vår slutsats är att det bland forskares vanligtvis rörliga nätverk finns ett mer bestående nätverk av familjär karaktär. Nyckelord: Actor Network Theory (ANT), subjektsposition, nätverk, akademiskt släktskap