This essay examines the debate that arose in connection to the sale of Carl Larsson’s monumental painting Midvinterblot in 1987. My main purpose is to examine which meanings the debaters ascribed Midvinterblot and in which way the debate influenced the paintings significance as cultural heritage. I will therefore argue that the debate initiated a renegotitation of the paintings meaning as cultural heritage. In the debate the debaters emphasized the National Museum’s responsibility over cultural heritage, Midvinterblots aestethic, the paintings economic value and its national implications. The controversies concerning the painting shows that its meaning as cultural heritage was not constituted by the painting itself but by the meanings which the debaters placed upon it. The debate also sheds light on that there may be a wide variety of opinions concerning what it is that constitutes as cultural heritage. The meanings the debaters ascribed Midvinterblot related, however, in a crucial way to each other. My examination of the debate also show how cultural heritage is created to fill a specific purpose, for example, to maintain cultural values, to attract tourists or as a resource in the formation of group identities.

This essay examines the debate that arose in connection to the sale of Carl Larsson’s monumental painting Midvinterblot in 1987. My main purpose is to examine which meanings the debaters ascribed Midvinterblot and in which way the debate influenced the paintings significance as cultural heritage. I will therefore argue that the debate initiated a renegotitation of the paintings meaning as cultural heritage. In the debate the debaters emphasized the National Museum’s responsibility over cultural heritage, Midvinterblots aestethic, the paintings economic value and its national implications. The controversies concerning the painting shows that its meaning as cultural heritage was not constituted by the painting itself but by the meanings which the debaters placed upon it. The debate also sheds light on that there may be a wide variety of opinions concerning what it is that constitutes as cultural heritage. The meanings the debaters ascribed Midvinterblot related, however, in a crucial way to each other. My examination of the debate also show how cultural heritage is created to fill a specific purpose, for example, to maintain cultural values, to attract tourists or as a resource in the formation of group identities. / Tintin Hodén

This paper addresses a design exploration focusing on interactive jewellery and wearable computing that could affect sexual harassment in social contexts in everyday life. Drawing on a design inquiry study that lead to the creation of an interactive and digital necklace named Sunshine, which is a personal alarm connected to an emergency center, this paper focuses on how a piece of digital jewellery can contribute to women’s empowerment in relation to sexual harassment. The functionality of Sunshine is based on a device that will be activated when the user presses a button on the necklace and an alert with the location of the user will be sent to an alarm center. The users press the button when in danger or exposed to violence and/or abuse. This study so forth addresses a design exploration of a piece of jewellery that can be seen as a symbol for women’s safety, unity and equality. The combination of digital technology and fashion design demonstrate that people can be brought together and especially be empowering in social contexts where sexual harassment might be a part of women’s everyday life. / <p>Självständigt Examensarbete (Forskningsartikel)</p>

Cette thèse pose la question de l’exigence artistique dans les pratiques théâtrales en amateur. On s’appuie principalement sur l’observation de festivals de portée départementale ou nationale, suivant l’hypothèse que ces manifestations favorisent les discussions sur les choix esthétiques. La recherche se déploie autour d’une interrogation : quand une activité artistique se pratique dans un cadre non professionnel, comment s’articulent les objectifs d’amélioration de la qualité des spectacles avec le souci de maintenir un respect mutuel ? Constituée à partir de l’analyse des représentations et des rencontres inscrites à l’affiche des festivals, l’étude a été complétée par des entretiens avec les membres des troupes participantes, des comités d’organisation ou des jurys, dont certains artistes professionnels. On structure les résultats obtenus en s’intéressant d’abord aux conditions dans lesquelles les amateurs satisfont leur passion et en évoquant les moyens et les outils dont ils se dotent collectivement pour y parvenir. Puis on envisage les façons dont les amateurs exercent leur jugement quand il leur faut construire le programme d’un festival. On aborde alors les festivals en les considérant comme des expériences de vie et on considère les valeurs mises en œuvre dans ces aventures humaines. Un dialogue est instauré entre tous ces aspects et différentes conceptions théoriques de l’art, selon que l’accent est placé sur ce qui se passe lors d’une représentation, sur les intentions, sur l’expertise ou sur les effets. On insiste sur la dimension sociale de ces pratiques et sur le fait que le temps disponible est consacré de préférence au plateau, plutôt qu’aux discours / This thesis deals with the question of the artistic demand in amateur theatre practices. It mainly relies on the observation of national or departmental festivals, based on the assumption that these events allow for the debating about aesthetical choices. The research is driven by on the interrogation: when one practises an artistic activity as a non-professional, how to articulate the objectives of improving the quality of the shows with the concern for maintaining a mutual respect? The study analyses performances and group discussions scheduled during the festivals, completed by interviews with some members of companies, or of the organising committees, or of the juries, some of them being professional artists. The results are taken up, in turn, beginning with the conditions under which the amateurs satisfy their passion, including the means they collectively develop and put into action, therefore. Then the ways of assessing one’s taste when having to elaborate the program of a festival are examined. It is then proposed to regard festivals as whole experiences of life and to take into account the values which are at work during these human adventures. All these aspects are put into dialogue together with some theoretical conceptions of art, according to the most significant elements: intentions, expertise, effects. The social dimension of the practices is underlined, as well as the fact that amateurs have rather spend their time on scene, rather that discussing

Cette étude ethnographique porte sur le réseau social du tango argentin à Montréal, les valeurs esthétiques du tango, l’interprétation de l’expérience de la danse acquise au cours du processus de socialisation et les différents agents de socialisation. Dans un contexte de réappropriation et de déterritorialisation d’un savoir-faire comme le tango, les références symboliques relatives à son contexte d’origine, son imaginaire collectif et son contexte sociohistorique sont moins accessibles. Ceci semble appeler chez les danseurs montréalais une sorte de surdétermination de l’expérience immédiate, concrète et interactive de la danse dans la construction d’un sens collectif. Cette recherche s’intéresse plutôt à la transposition dans le réseau montréalais de certaines normes esthétiques en lien avec les modalités interactives de la danse. Ces normes esthétiques induisent une attention particulière portée à la qualité de l’expérience se reflétant dans les pratiques et les discours. Ces valeurs esthétiques remontent au contexte d’origine du tango et à la rencontre entre différents univers socialisateurs transnationaux à différentes étapes de son évolution. De ce type de rencontres «transesthétiques», s’est développé un dualisme entre le danser pour les autres et le danser pour soi, dans les représentations et la mise en forme d’une expérience dansée. À Montréal, c’est avec emphase qu’on observe la cohabitation de ces deux systèmes de valeurs en apparence antagonistes où, d’une part, est valorisé l’exhibition du soi et, d’autre part, sont priorisés l’intériorité et l’expérience subjective. En bref, ce mémoire explore les relations complexes qui existent entre les processus culturels et leurs produits, l’expérience et le sens, entre la subjectivité individuelle et la collectivité, et redéfinit l’agentivité des acteurs sociaux en étudiant les modes spécifiques de production du sens dans un art comme la danse. / This ethnographic study explores the Argentine tango network of Montreal, the esthetic values of this tango, the interpretation of experience acquired through the socialization process and the various agents of socialization. In a context of appropriation and deterritorialization of a savoir-faire art such as tango, the symbolic references related to the dance’s original context, mythology and sociohistoric context are less accessible to the dancers. This seems to call a sort of overdetermination of the actual, concrete and interactive experience of the dance in the construction of collective meaning. My research will explore a transposition which occurs within the tango social sphere; a compliance with interactive aspects of esthetic norms that draws the dancer’s attention in practice and discourse towards a certain quality of experience. These values can be traced to the origins of tango and the encounters between different social worlds and transnational connections at different periods of its evolution. From such transesthetic encounters, tango has developped, in the way experience is represented and put into form, a dualism between dancing for others and dancing for one self. In the specific context of Montreal, we observe this cohabitation of two apparently antagonistic value systems. On one hand, we value the personal exhibition, and on the other, we prioritize the inner nature and subjective experience of the dance. In brief, this thesis explores the complex relationship existing between cultural process and cultural products, between experience and meaning, between collectivity and individual subjectivities, and redefines the agentive role of social actors by examining the specific ways meaning is produced in expressive culture such as the dance.

Cette étude ethnographique porte sur le réseau social du tango argentin à Montréal, les valeurs esthétiques du tango, l’interprétation de l’expérience de la danse acquise au cours du processus de socialisation et les différents agents de socialisation. Dans un contexte de réappropriation et de déterritorialisation d’un savoir-faire comme le tango, les références symboliques relatives à son contexte d’origine, son imaginaire collectif et son contexte sociohistorique sont moins accessibles. Ceci semble appeler chez les danseurs montréalais une sorte de surdétermination de l’expérience immédiate, concrète et interactive de la danse dans la construction d’un sens collectif. Cette recherche s’intéresse plutôt à la transposition dans le réseau montréalais de certaines normes esthétiques en lien avec les modalités interactives de la danse. Ces normes esthétiques induisent une attention particulière portée à la qualité de l’expérience se reflétant dans les pratiques et les discours. Ces valeurs esthétiques remontent au contexte d’origine du tango et à la rencontre entre différents univers socialisateurs transnationaux à différentes étapes de son évolution. De ce type de rencontres «transesthétiques», s’est développé un dualisme entre le danser pour les autres et le danser pour soi, dans les représentations et la mise en forme d’une expérience dansée. À Montréal, c’est avec emphase qu’on observe la cohabitation de ces deux systèmes de valeurs en apparence antagonistes où, d’une part, est valorisé l’exhibition du soi et, d’autre part, sont priorisés l’intériorité et l’expérience subjective. En bref, ce mémoire explore les relations complexes qui existent entre les processus culturels et leurs produits, l’expérience et le sens, entre la subjectivité individuelle et la collectivité, et redéfinit l’agentivité des acteurs sociaux en étudiant les modes spécifiques de production du sens dans un art comme la danse. / This ethnographic study explores the Argentine tango network of Montreal, the esthetic values of this tango, the interpretation of experience acquired through the socialization process and the various agents of socialization. In a context of appropriation and deterritorialization of a savoir-faire art such as tango, the symbolic references related to the dance’s original context, mythology and sociohistoric context are less accessible to the dancers. This seems to call a sort of overdetermination of the actual, concrete and interactive experience of the dance in the construction of collective meaning. My research will explore a transposition which occurs within the tango social sphere; a compliance with interactive aspects of esthetic norms that draws the dancer’s attention in practice and discourse towards a certain quality of experience. These values can be traced to the origins of tango and the encounters between different social worlds and transnational connections at different periods of its evolution. From such transesthetic encounters, tango has developped, in the way experience is represented and put into form, a dualism between dancing for others and dancing for one self. In the specific context of Montreal, we observe this cohabitation of two apparently antagonistic value systems. On one hand, we value the personal exhibition, and on the other, we prioritize the inner nature and subjective experience of the dance. In brief, this thesis explores the complex relationship existing between cultural process and cultural products, between experience and meaning, between collectivity and individual subjectivities, and redefines the agentive role of social actors by examining the specific ways meaning is produced in expressive culture such as the dance.

Background:  In recent years, the Swedish furniture industry has recorded many significant successes and increased its influence in the world furniture market with a high proportion of products being used for export purposes and the intensifying popularity of Sweden-originated furniture brands. Among these, IKEA is the most renowned company. Currently, the company plans to grow further in South-East Asia (IKEA, n.d) and Vietnam is a potential market for this expansion due to the shortage of furniture supply in the domestic market. However, nothing can assure that IKEA’s overall success in the oversea market would simplify their way of penetrating the Asia market. Learning from the past, the company has faced many failures in different markets such as China, Japan, and India. Considering this, the authors of this paper believe that it is important to understand how Swedish furniture companies’ product values, IKEA in particular, could affect customer consumption values, which significantly shape their perception. Based on this, the company can better in making predictions on their market penetration, thereby minimizing risks or unprofitable investments.  Purpose:  The purpose of this paper is to understand whether IKEA’s product values have a significant effect on Vietnamese furniture consumption values and shape their perception or not. Therefore, the thesis will be drawn on the question of “What are the potential preferences that make Swedish furniture attract Vietnamese consumers? – IKEA as a case study”. Method:  This paper is based on the quantitative research method with a positivistic paradigm. A survey was conducted for collecting primary data with a sample size of 200 Vietnamese furniture consumers. The collected data were analysed using the SPSS Statistics 28 software.  Conclusion:  The results showed that Swedish furniture firms like IKEA obviously could receive potential growth in Vietnam since all of IKEA’s product values are tested to have positive effects on Vietnamese consumption value, which have a strong correlation with their buying perception. This paper can be used as a premise for further research on customer perceived values when IKEA’s products are officially experienced by Vietnamese consumers.

Submitted by Izabel Franco (izabel-franco@ufscar.br) on 2016-09-12T13:37:25Z No. of bitstreams: 1 TeseVGI.pdf: 2492645 bytes, checksum: 0b3636c31d0d24b4c876c651f2d76046 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-09-12T18:31:51Z (GMT) No. of bitstreams: 1 TeseVGI.pdf: 2492645 bytes, checksum: 0b3636c31d0d24b4c876c651f2d76046 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-09-12T18:32:01Z (GMT) No. of bitstreams: 1 TeseVGI.pdf: 2492645 bytes, checksum: 0b3636c31d0d24b4c876c651f2d76046 (MD5) / Made available in DSpace on 2016-09-12T18:32:34Z (GMT). No. of bitstreams: 1 TeseVGI.pdf: 2492645 bytes, checksum: 0b3636c31d0d24b4c876c651f2d76046 (MD5) Previous issue date: 2015-03-26 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Our world views are based on principles, feelings, emotions that go through a dimension of human life which involve ethical and aesthetic values. However, the formation of values is a less explicit dimension of environmental education compared to the appropriation of knowledge. Some studies confirm the relative silence of aesthetic considerations in the literature and curriculum, so this topic has the potential to be further explored in research and in environmental education practice. Based on an interpretative perspective, we assume as aesthetic experience the possibility of our bodies engaged in the world to realize and create meanings of all forms of existence. From this, this study aims to understand the nature of aesthetic experience in the Cerrado, due to its history of occupation and degradation. In this research, we transition between the modern and post-modern paradigm in order to deeply understand the meaning of aesthetic experience. This transition is the result of our study pathway which was willing to seek for approaches and methods to answer the research question. Therefore, our data collection was carried out using two techniques: 17 semistructured interviews (understood in a modern paradigm, but interpreted together with the research participants) and a walking ethnography in the Cerrado (located as a post- modern methodology), which 08 participants who had already been interviewed were present, and 04 out of 08 were part of the data collection The participants were invited following the criteria of a life story related to the Cerrado, reflecting on a love involvement regarding this environment.The results indicated that the informal and spontaneous experiences in nature, moments of conflict and dialogue were significant for the development of an affective bond and an ethical stance towards the Cerrado. The walking ethnography put the prospect of analyzing the aesthetic experience of the participants moving in the Cerrado and the researcher was also engaged in the aesthetic experience of the Cerrado along with the participants. Instead of being a dialogical and verbal action, this activity is embodied and the focus is the multisensorial experience which involves multi-dimensions of corporality and connections with the materialities of the more than human world. The data that emerged during the walk in the Cerrado supplemented the interviews. In addition, we identified that the participants of this study had an ethical position in relation to the Cerrado, which we attributed to be from the dialogue among participants and family, friends, coworkers and text readings. However, this relationship can not be considered the same in other groups of people, situations and contexts. Therefore, new research questions that continue investigating the relations between aesthetic experience and ethics are necessary. / Nossas concepções de mundo são pautadas em princípios, sentimentos, emoções que perpassam uma dimensão da vida humana que envolvem os valores éticos e estéticos. No entanto, a formação de valores representa uma dimensão menos explícita da educação ambiental, quando comparada à apropriação de conhecimentos. Da mesma maneira, estudos apontam que as questões estéticas têm potencial para serem mais exploradas na pesquisa e na prática em educação ambiental. Baseadas em uma perspectiva interpretativa, assumimos como experiência estética a possibilidade do nosso corpo engajado no mundo para perceber e (re)significar todas as formas de existência. Partindo do que foi colocado, o presente estudo objetiva compreender a natureza da experiência estética no Cerrado, devido ao seu histórico de ocupação e degradação. Nessa pesquisa, transitamos entre o paradigma moderno e pós-moderno a fim de buscar compreender, em profundidade, o significado da experiência estética. Essa transição é resultado da nossa trajetória de estudo que se propôs a conhecer abordagens e métodos que respondessem à questão de pesquisa. Portanto, nossa coleta de dados se deu por meio de duas técnicas: 17 entrevistas semi-estruturadas (compreendida em uma paradigma moderno, mas interpretadas junto com as/os participantes da pesquisa) e uma caminhada em movimento no Cerrado (situada como uma metodologia pós-moderna), na qual 08 participantes que já haviam sido entrevistados estavam presentes, sendo que desses 08, apenas 04 fizeram parte da coleta de dados. As/os participantes dessa pesquisa foram convidadas/os seguindo o critério de uma uma história de vida relacionada ao Cerrado, refletindo-se em um envolvimento amoroso com esse ambiente. Os resultados indicaram que a vivência informal e espontânea na natureza e momentos de conflito e diálogo foram significativos para o desenvolvimento de um vínculo afetivo e uma postura ética para com o Cerrado. A caminhada em movimento trouxe a perspectiva de analisar a experiência estética das/os participantes em movimento no Cerrado sendo que a pesquisadora também estava imersa na experiência. Ao invés de ser uma ação dialógica e verbal, esta atividade é corporal e o foco é a experiência multisensorial que envolve múltiplas dimensões da corporalidade e conexões com as materialidades do mundo mais do que humano. Nesse sentido, consideramos que a limitação dessa coleta de dados reside em não "acessarmos" as dimensões políticas e éticas das/os participantes da pesquisa, enquanto que, nas entrevistas houve essa possibilidade. Logo, percebemos que as coletas de dados se complementaram. Identificamos que as/os participantes dessa pesquisa tinham um posicionamento ético em relação ao Cerrado, o que consideramos sido construído a partir do diálogo entre as/os participantes e familiares, amigas/os, colegas de trabalho, leituras e estudos de texto. No entanto, essa relação não pode ser considerada a mesma em outros grupos, situações e contextos. Assim, novas questões de pesquisa que continuem a investigar a relação entre experiência estética e ética se fazem necessárias.

Submitted by DÉBORA APARECIDA DE SOUZA null (de-debi@hotmail.com) on 2016-11-12T14:23:15Z No. of bitstreams: 1 dissertação13.pdf: 4882336 bytes, checksum: 9f3c1256a8647854f5af76518303da5c (MD5) / Approved for entry into archive by LUIZA DE MENEZES ROMANETTO null (luizaromanetto@hotmail.com) on 2016-11-17T11:38:06Z (GMT) No. of bitstreams: 1 souza_da_me_rcla.pdf: 4882336 bytes, checksum: 9f3c1256a8647854f5af76518303da5c (MD5) / Made available in DSpace on 2016-11-17T11:38:06Z (GMT). No. of bitstreams: 1 souza_da_me_rcla.pdf: 4882336 bytes, checksum: 9f3c1256a8647854f5af76518303da5c (MD5) Previous issue date: 2016-09-08 / A partir da preocupação com a crise ambiental, implicada nos atuais padrões de relação sociedade-natureza insustentáveis, desenvolveu-se o consenso de que a educação, enquanto um processo social, é uma via que pode contribuir para o enfrentamento dessa crise. Nesse sentido, a escola é tida como um local privilegiado, seja para a transmissão da cultura seja para a provocação de mudanças sociais, podendo colaborar para a revisão da concepções e valores que sustentam a crise ambiental. Ao considerarmos o trabalho de educação ambiental nas escolas, reconhecemos a relevância dos materiais de apoio utilizados para o trabalho do professor, que, de forma mais ou menos explícita, veiculam concepções e valores, dentre eles as obras de literatura. Estando interessada nas obras de Literatura Infantil pelo fato desta estar presente na escola, trazendo consigo concepções e valores sociais, fazendo parte da formação humana de maneira significativa é ela se tornou nosso objeto de pesquisa; assim, voltamo-nos a essa pesquisa cujo objetivo é o de identificar e analisar o conteúdo axiológico relativo à natureza e à relação sociedade-natureza presentes em livros de Literatura Infantil, caracterizando as concepções a partir das quais a valoração é apresentada. O corpus documental deste trabalho foi constituído de dezenove obras literárias, dentre as cento e oitenta que compõem os “Acervos Complementares: alfabetização e letramento nas diferentes áreas do conhecimento”, para o triênio 2013 a 2015, enviado pelo MEC às escolas públicas brasileiras. A seleção se deu a partir da leitura de suas sinopses, optando por obras que apontam a intenção da abordagem de temática ambiental em seu enredo. O trabalho foi desenvolvido sob uma abordagem qualitativa do tipo pesquisa documental. Ao término das análises, identificamos a predominância das referências aos elementos água, animal, seguidos das árvores, ar e do ambiente urbano. Com relação às concepções, houve o predomínio da “concepção antropomórfica”, “antropocêntrica” e “utilitarista”, seguidas da ecológica e de outras que aparecem em menor proporção e que estão explicitadas no corpo deste trabalho. Em se tratando dos valores, o ético se sobressaiu ao estético. O resultado de nossa pesquisa nos pareceu positivo, no sentido de encontrarmos outras concepções de relação sociedade-natureza presentes nessas obras. Nesse sentido, chamam-nos a atenção as obras em que valores estéticos foram identificados, implicando em uma concepção que se afasta do utilitarismo. Diante de nossas preocupações com as questões de ordem ambiental, em que estamos buscando contribuições no sentido de melhoria nos padrões de relação da sociedade-natureza, seja só para garantir a sobrevivência da espécie humana ou para a sobrevivência de todas as espécies (como apontam algumas obras), muitos desses livros se apresentam como um significativo caminho para o trabalho com a educação ambiental nas escolas. Essa pesquisa está apresentada em seis seções, sendo a introdução a primeira delas. A segunda seção foi destinada ao delineamento da pesquisa e à apresentação dos “Acervos Complementares” enquanto origem do corpus deste trabalho. Para delinear essa seção, me apoiei nos estudos de Lüdke e André (1986) e Bardin (2009). Na terceira seção trago a relação da educação e o trabalho com valores. Para fundamentar essa seção apresento estudos de Bonotto (2008, 2012), de Frondizi (2005), Araújo (2007), Exteberria (1997) e Pegoraro (2002), entre outros autores. A quarta seção apresenta um panorama histórico da Literatura Infantil no Brasil, sua relação com a escola e com a EA. Para desenvolvê-lo Me fundamentei nas contribuições das pesquisas de Coelho (1991), Zilberman (1998), Balça (2008), Lajolo (2008), Gregorin Filho (2009), Hunt (2010), entre outros. A quinta seção destina-se a apresentar a relação da sociedade-natureza e os valores identificados nos livros analisados. Para realização dessa análise, também me apoiei em estudos de Lüdke e André (1986) e em fundamentações teóricas de Marin (2006), Grün (2011), Pegoraro (2002), entre outros. E, na sexta seção, encontram-se as considerações finais. / From the concern about the environmental crisis, implicated in current patterns of unsustainable relationship between society and nature, was developed the consensus that the education as a social process is one way that can help to confront this crisis. In this sense, the school is seen as a prime site either for the transmission of culture is to challenge social change and may contribute to the revision of concepts and values that underpin the environmental crisis. As we consider the work aimed at the environmental education in schools, we recognize the importance of the support materials for the teacher's work, which, more or less explicitly convey ideas and values, including the works of literature. Focusing on the interest in the works of children's literature, because this is present in the school, bringing ideas and social values, as part of human development significantly, it has become of particular interest in this work. Therefore, we turn to the research whose goal is to identify and analyze the axiological content on the nature and the relationship between society and nature present in children's literature books, featuring designs from which the valuation is displayed. The corpus of this work consisted of nineteen literary works, selected among the one hundred and eighty that make up the "Archives Complementary: alphabetization and literacy in different areas of knowledge," for the triennium 2013-2015, sent by Education Ministry (MEC) to Brazilian public schools. Selection is made from the reading of their synopses, choosing works that link the intent of the environmental thematic approach in its plot. The study was conducted under a qualitative approach of the document analysis type. At the end of the analysis, we identified the predominance of references to the elements of water, animal, followed by trees, air and the urban environment. With regard to conceptions, there was a predominance of anthropomorphic, anthropocentric, utilitarian, followed by ecological and others that appear to a lesser extent and explained in the body of this work. In dealing of values, ethical excelled the aesthetic. Despite the predominance of anthropocentric/ utilitarian conception, as expected, due to its hegemony in our society, as already mentioned on the theoretical reference that supports this research. This result surprised us positively, to meet other concepts of relationship between society and nature present in these works, and thus arriving at Brazilian schools. The necessity of review our relationship between society and nature, if it is grounded in a utilitarian conception, can lead to ethical valuation restricted to this view, and we wonder to what extent it may be enough to change the current standard, which shows unsustainable. In that direction, they call us the attention the works in which aesthetic values are found, resulting in a conception that departs this utilitarianism. Faced with our concerns with the environmental reasons, we are seeking contributions towards improving the standards of relationship between society and nature, is to ensure the survival of the human species or the survival of all species (as pointed by some works literary), many of these children’s books presented as a significant way to work with environmental education in schools.

Denna studie undersöker de estetiska värderingarna av materialet trä i möbelproduktion och hur det påverkar materialåtgången. Tidigare forskning har främst undersökt träslaget furu och det estetiska urvalet som händer redan i träproduktion. Resultat i denna studie har visat att ett så homogent material som möjligt är att föredra, utan kvistar, färgförändring och ojämn fiberriktning. Större produktionsbolag ser till att spillmaterial som blir över efter sortering blir pappersmassa eller spån. Möbeltillverkare har inte resurser för att ge sitt spill ett andra liv utan eldar upp det. Liknande studier har kommit fram till att det finns estetiska preferenser på trä men inte hur man kan påverka konsumentens val. Hur kan man genom design förändra den estetiska värderingen kring valet av material och förhindra onödigt svinn? Syftet med detta projekt är att genom kritisk design belysa problematiken kring hur vi konsumerar material utifrån estetiska värderingar och konsekvenserna det medför. Kvalitativa metoder i form av expertintervjuer har gjorts för att samla information om hur möbelproducenter väljer sitt material utifrån estetiska preferenser. Resultatet påvisar att en möbel kan generera spill på upp till 70 procent av en planka. Ur ett hållbarhetsperspektiv är det viktigt att visa på de negativa följderna som kommer av att välja bort ett värdefullt material för att det inte är estetiskt tilltalande. / This study examines the aesthetic values of the material wood in furniture manufacturing and how it affects material consumption. Previous research has mainly examined the wood species pine and the aesthetic selection that occurs in wood production. Results in this study have shown that a homogeneous material as possible is preferable, without knots, irregular coloration, and uneven grain. Larger production companies ensure that waste material that remains after sorting becomes pulp or flakes. Furniture manufacturers do not have the resources to give their waste another life, instead they burning the wood for heat. Similar studies have concluded that there are aesthetic preferences on wood but not how to influence consumer choice. How can design change the aesthetic value of the choice of material and prevent unnecessary waste? The purpose of this project is to shed light on the problem of how we consume materials based on aesthetic values and the consequences it has through a critical design perspective. Qualitative methods in the form of expert interviews have been made to gather information on how furniture manufacturers choose their materials based on aesthetic preferences. The results show that a piece of furniture can generate wood waste up to 70 percent of a plank. From a sustainability perspective, it is important to point out the negative consequences that will opt out of a valuable material because it is not aesthetically pleasing.