This research reports on a project concerned with the relationship between the person and the environment in the context of achieving a contemplative or existential state – a state which can be experienced either consciously or subconsciously. The need for such a study originated with the desire to contribute to the design of multicultural spaces which could be used for a range of activities within the public and the personal arena, activities including contemplation, meditation and prayer. The concept of ‘sacred’ is explored in the literature review and in primary interviews with the participants of this study. Given that the word ‘sacred’ is highly value-laden and potentially alienating for some people, it was decided to use the more accessible term ‘contemplative’. The outcomes of the study inform the practice of interior design and architecture which tends currently to neglect the potential for all spaces to be existentially meaningful. Informed by phenomenological methodology, data were collected from a diverse group of people, using photo-elicitation and interviews. The technique of photo-elicitation proved to be highly effective in helping people reveal their everyday lived experience of contemplative spaces. Reflective analysis (Van Manen 2000) was used to explore the data collected. The initial stage of analysis produced three categories of data: varying conceptions of contemplation, aspects of the person involved in the contemplation, and aspects of environment involved in contemplation. From this, it was found that achieving a state of contemplation involves both the person and the environment in a dialectic process of unfolding. The unfolding has various physical, psycho-social, and existential dimensions or qualities which operate sequentially and simultaneously. Two concepts emerged as being central to unfolding: ‘Cleansing’ and ‘Nothingness’. Unfolding is found to comprise the Core; Distinction; Manifestation; Cleansing; Creation; and Sharing. This has a parallel with Mircea Eliade’s (1959) definition of sacred as something that manifests itself as different from the profane. The power of design, re-contextualization through utility and purpose, and the existential engagements between the person and environment are used as a basis for establishing the potential contribution of the study to interior design. In this way, the study makes a contribution to our understanding of how space and its elements inspire, support and sustain person environment interaction – particularly at the existential level – as well as to our understanding of the multi-dimensional and holistic nature of this interaction. In addition, it points to the need for a phenomenological re-conceptualisation of the design/client relationship. In summary, the contributions of this research are: the exploration of contemplative experience as sacred experience; an understanding of the design of space as creating engagement between person and environment; a rationale for the introduction of a phenomenological approach to the relationship between designer and clients; and raising awareness of the spiritual in a holistic approach to design.

Submitted by PATRÍCIA CRISTINA DE OLIVEIRA ROSA null (patycorosa@hotmail.com) on 2016-09-28T16:54:54Z No. of bitstreams: 1 Dissertação Final Patrícia Rosa.pdf: 2606210 bytes, checksum: d6cceb7391f6352888da2760c107d470 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-09-30T17:07:45Z (GMT) No. of bitstreams: 1 rosa_pco_me_mar.pdf: 2606210 bytes, checksum: d6cceb7391f6352888da2760c107d470 (MD5) / Made available in DSpace on 2016-09-30T17:07:45Z (GMT). No. of bitstreams: 1 rosa_pco_me_mar.pdf: 2606210 bytes, checksum: d6cceb7391f6352888da2760c107d470 (MD5) Previous issue date: 2016-08-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A presente pesquisa buscou compreender como se constrói e como se expressa a religiosidade de um grupo de monjas paulistas da Ordem de Santa Clara de Assis. Em outras palavras, a investigação procurou refletir sobre as mudanças e as permanências que ocorrem nessa realidade específica, analisando as constantes (re)significações que as irmãs realizam sobre sua própria situação. Para tanto, foi necessário contextualizar as origens do monaquismo, da clausura religiosa e sua expansão no Ocidente, enfatizando a influência dos preceitos de Francisco de Assis sobre a fundadora da Ordem, Clara de Assis, no século XIII. Também foi importante fazer um levantamento historiográfico do desenvolvimento da vida religiosa feminina no Brasil até os dias contemporâneos, devido às transformações que vêm ocorrendo nos institutos de vida consagrada e afetam, também, a religiosidade clariana. Fez-se necessário pensar a trajetória das mulheres que compartilham desses ideais monásticos, compreendendo as motivações para o ingresso e permanência na vida religiosa, analisando seu cotidiano no claustro e refletindo sobre as relações dentro do mosteiro e além dele, isto é, com a hierarquia católica e a sociedade laica. A partir do trabalho etnográfico no mosteiro paulista, foi possível constatar que as religiosas se adaptaram a uma realidade capitalista e globalizada, conservando os preceitos de sua fundadora. As práticas da oração contemplativa, pobreza e clausura permaneceram como partes inerentes à vocação clariana. O estudo dessa religiosidade possibilitou a compreensão dos sentidos e significados atribuídos à eclesialidade contemplativa e permitiu conhecer qual o lugar da vida religiosa monástica feminina nos dias contemporâneos. / This research sought to understand how is built and expressed the religiosity of a group of nuns from São Paulo adepts to the Order of St. Clare of Assisi. In other words, the research sought to reflect on the changes and the continuities that occur in that particular reality, analyzing the constant (new) meanings that the sisters carry on their own situation. Therefore, it was necessary to contextualize the origins of monasticism, the cloistered religious and its expansion in the West, emphasizing the influence of the precepts of Francis of Assisi on the Order's founder, Clare of Assisi, in the thirteenth century. It was also important to make a historiographical survey of the development of Brazilian female religious life to contemporary days, due to the transformations taking place in institutes of consecrated life which affect also the Clarian religiosity. It was necessary to think about the trajectory of women who share these monastic ideals, understanding the motivations to enter and remain in the religious life, analyzing their daily life in the cloister and reflecting on the relationships within the monastery and beyond, that is, with the hierarchy Catholic and secular society. From the ethnographic work in São Paulo monastery was established that the religious have adapted to a capitalist and globalized reality, keeping the precepts of its founder. The practice of contemplative prayer, poverty and remained cloistered parts inherent to Clarian vocation. The study of this religion enabled the understanding of the senses and meanings attributed to the contemplative and it allowed knowing the place of female monastic life in contemporary days.

Esse trabalho traz questões estéticas da dança e da linguagem cinematográfica focalizando os registros audiovisuais de um espetáculo. O desenvolvimento da relação entre essas duas formas de arte vão desde os registros iniciados por Edson até as modernas videodanças ou videoclipes. Kontakthof, coreografado e dirigido por Pina Bausch e dançado por três elencos de idades e formações diferenciadas e registrados de formas muito distintas em cinco filmes, é usado para se discutir a importância dos registros audiovisuais enquanto memória, explorando aproximações e distinções entre o documentário e a documentação num cenário em que cinema e dança geram conhecimento do presente e do passado. Por fim, esta pesquisa destaca uma mesma cena dessa coreografia, encontrada nos filmes Pina de Wim Wenders e Un jour Pina m`a demande de Chantal Akerman e no registro da peça integral, analisando-a a partir dos diferentes olhares e estratégias. Conclui-se, então, que o registro, com sua aparente aspiração de objetividade, abre espaço para a explicitação da subjetividade tal qual os outros filmes, resgatando essa forma de audiovisual do exílio ao qual, normalmente, é encerrado nas discussões sobre o universo cinematográfico / This thesis aims to offer reflections about the relationships between dance and cinema focusing on the audiovisual records of the Kontakthof choreography, conceived and directed by Pina Bausch. The Kontakthof piece is danced by three casts varying in age and dance background and it was registered by five filmmakers who used very distinct cinematographical principles. It discusses the importance of records and movies as memory and simultaneously explores the meta questions of how art, cinema and dance generate knowledge about the present and the past. This is accomplished by focusing on one scene that appears in \"Pina\" from Win Wenders, \"One Day Pina Has Asked Me\" from Chantal Ackerman and in the documentation itself of the whole Kontaktof piece This scene is then analyzed bringing forth the three different perspectives that generated them. This thesis points out that the registry itself, with its outward intention of being a vessel for memory, becomes an attentive, receptive space, wherein its subjectivity can be ultimately revealed. This inquiry, in turn, allows this form of registry to be rescued from the cinematographical exile that it had been condemned in the past.

In order for future sustainability leaders to stand a chance at tackling the sustainability challenge, they need to be skilled and capable enough to cope with them. Higher education for sustainable development (HESD) plays a crucial role in developing sustainability leaders. The intent of this research is to examine how contemplative practices (CPs) can be strategically used as a pedagogical tool to support the new leadership paradigm needed to move society towards sustainability. Through interviews, the study explored the current state of CPs in HESD by asking how and why they are used, and what barriers prevent them from being used more widely. Findings showed that: - CPs are not being used strategically as a tool in HESD - CPs can be used to support the development of sustainability leaders - HESD has a limited focus on inner transformation This study showed that the use of CPs as a pedagogical tool in HESD has significant impacts on individuals’ learning and inner transformation. At the same time, they support the development of individuals’ wellbeing and leadership skills towards sustainability. However, it was found that there are several barriers to overcome in order for this tool to be strategically used in HESD.

No description available.

[ES] La Animación como Arte alquímico y práctica contemplativa mindfulness, es un potenciador de la transformación del "ser" y su consciencia, desarrollando la comunicación consciente y la autorregulación hacia el bienestar. A través del proceso creativo y alquímico de las películas animadas, se puede cultivar la atención plena y una visión holística, fomentando con ello el pensamiento crítico, reflexivo y creativo en busca de la coherencia en las historias que vivimos y las que recreamos. El objetivo principal de esta Tesis Doctoral, es mostrar a la comunidad, la animación como un lenguaje alternativo y práctica mediadora y preventiva, tanto para los individuos como para la sociedad, desde las Artes y la Educación, frente a la desinformación, desorientación y manipulación mediática que actualmente vivimos. La animación así concebida, favorece una mente despierta, atenta, sensible y equilibrada, con un corazón sabio y el animador, se convierte en un un artista chamánico consciente, en un alquimista, cuyo arte será mediador desde el individuo a la comunidad, estableciendo un diálogo abierto para el cuidado emocional y la autorreflexión. Nuestra perspectiva plantea un cambio, pasando de usar la animación como forma de entretenimiento, a utilizarla como una herramienta de aprendizaje neuro artístico, introduciendo aspectos de la Neurociencia en el proceso creativo y transformándola así en un arte neuro plástico, que promueve la neuroplasticidad autodirigida y la inteligencia emocional. Con esta metodología se estimulan valores como la compasión, la empatía y la resiliencia, donde el proceso alquímico de transformación individual, invita a realizar un viaje introspectivo y purificador, conectando la mente y el cuerpo, el individuo con el grupo y la comunidad con el mundo, a través de las historias animadas. Narrativas que pueden idear nuevos héroes y heroínas, independientes y compasivos, que nos ofrezcan otros modos de enfrentar los desafíos de la vida con humor y sabiduría. En el campo del arte en general y dentro de la industria del cine en particular, por el poder que el audiovisual tiene hoy en día sobre la población, es vital cultivar artistas conscientes de los contenidos que producen, por el impacto e influencia que ejercen en ellos mismos/as, y en la sociedad que los consume y cultura a la que los dirigen. La animación es un lenguaje ancestral y fuente de sabiduría que ofrece un espacio sagrado desde el yo para la comunicación e intercambio de información con el otro; puente entre la ciencia y el arte, lo visible y lo oculto, lo espiritual y lo terrenal, lo análogo y tecnológico, donde el límite lo pone solo la imaginación. Entrar en el mundo animado, es entrar en el mundo de los sueños y la Alquimia espiritual, donde todo es posible. / [CA] L'Animació com a Art alquímico i pràctica contemplativa mindfulness, és un potenciador de la transformació de el "ser" i la seua consciència, desenrollant la comunicació conscient i la autorregulación cap al benestar. A través del procés creatiu i alquímico de les películes animades, es pot cultivar l'atenció plena i una visió holística, fomentant en això el pensament crític, reflexiu i creatiu en busca de la coherència en les històries que vivim i les que recreem. L'objectiu principal d'esta Tesis Doctoral, és mostrar a la comunitat, l'animació com un llenguage alternatiu i pràctica mediadora i preventiva, tant per als individus com per a la societat, des de les Arts i l'Educació, front a la desinformació, desorientación i manipulació mediàtica que actualment vivim. L'animació aixina concebuda, favorix una ment desperta, atenta, sensible i equilibrada, en un cor sapient i l'animador, es convertix en un un artiste chamánico conscient, en un alquimiste, l'art del qual serà mediador des del individuo a la comunitat, establint un diàlec obert per al conte emocional i la autorreflexión. La nostra perspectiva planteja un canvi, passant d'usar l'animació com a forma d'entreteniment, a utilisar-la com una ferramenta d'aprenentage neuro artístic, introduint aspectes de la Neurociencia en el procés creatiu i transformant la aixina en un art neuro plàstic, que promou la neuroplasticidad autodirigida i l'inteligència emocional. En esta metodologia s'estimulen valors com la compassió, l'empatia i la resiliencia, a on el procés alquímico de transformació individual, invita a realisar un viage introspectivo i purificador, conectant la ment i el cos, l'individu en el grup i la comunitat en el món, a través de les històries animades. Narrativa que poden idear nous héroes i heroïnes, independents i compassius, que nos oferixquen atres modos d'enfrontar els desafius de la vida en humor i saber. En el camp de l'art en general i dins de l'indústria del cine en particular, pel poder que l'audiovisual té hui en dia sobre la població, és vital cultivar artistes conscients dels continguts que produïxen, per l'impacte i influència que eixercixen en ells mateixos/as, i en la societat que els consumix i cultura a la que els dirigixen. L'animació és un llenguage ancestral i font de saber que oferix un espai sagrat des del yo per a la comunicació i intercanvi d'informació en l'atre; pont entre la ciència i l'art, lo visible i lo amagat, lo espiritual i lo terrenal, lo anàlec i tecnològic, a on el llímit ho posa solament l'imaginació. Entrar en el món animat, és entrar en el món dels somis i l'Alquímia espiritual, a on tot és possible. / [EN] Animation as an alchemical art and mindfulness contemplative practice, is an enhancer of the transformation of the "self" and its consciousness, developing conscious communication and self-regulation towards well-being. Through the creative and alchemical process of animated films, mindfulness and a holistic vision can be cultivated, thereby fostering critical, reflective and creative thinking in search of coherence in the stories we live and those we recreate. The main objective of this Doctoral Thesis is to show the community, animation as an alternative language and mediating and preventive practice, both for individuals and for society, from the Arts and Education, against misinformation, disorientation and the media manipulation that we currently live. The animation thus conceived, favors an awake, attentive, sensitive and balanced mind, with a wise heart and the animator, becomes a conscious shamanic artist, an alchemist, whose art will mediate from the individual to the community, establishing an open dialogue for emotional care and self-reflection. Our perspective proposes a change, going from using animation as a form of entertainment, to using it as a neuro-artistic learning tool, introducing aspects of Neuroscience in the creative process and thus transforming it into a neuroplastic art, which promotes self-directed neuroplasticity and emotional intelligence. With this methodology, values such as compassion, empathy and resilience are stimulated, where the alchemical process of individual transformation invites us to go on an introspective and purifying journey, connecting the mind and the body, the individual with the group and the community with the world, through animated stories. Narratives that can create new heroes and heroines, independent and compassionate, that offer us other ways to face life's challenges with humor and wisdom. In the field of art in general and within the film industry in particular, due to the power that the audiovisual has today over the population, it is vital to cultivate artists who are aware of the content they produce, due to the impact and influence they exert on themselves, and in the society that consumes them and the culture to which they are directed. Animation is an ancient language and source of wisdom that offers a sacred space from the self for communication and exchange of information with the other; bridge between science and art, the visible and the hidden, the spiritual and the earthly, the analogous and technological, where the limit is set only by the imagination. Entering the animated world is entering the world of dreams and spiritual Alchemy, where everything is possible. / Carpe Pérez, IC. (2023). La animación, proceso alquímico y práctica contemplativa para la transformación y la comunicación consciente: Neuro Animáticas [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/193686

This thesis explores the significance of contemporary Christian spirituality for authentic Christian ministry. To this end an extensive survey of contemporary academic literature is conducted. The research bears in mind the almost unprecedented contemporary interest in `spirituality,' both for academics and laypersons alike, and presupposes the need to redefine and understand spirituality for our times. The study yields the finding that contemporary academic spirituality contributes a newfound authenticity to Christian ministry. Spirituality achieves such authenticity for ministry through highlighting and realising a number of outstanding features. These features include: a new global awareness, and an appreciation of spiritual diversity; a `this-worldly' embodiment or `materialism' as integral to spirituality; a rediscovery of the experiential dimension of ministry; a re-awakening of the contemplative spirit as permeative of every dimension of life and activity, and a new inter-disciplinary appreciation of the metaphors, means and stages for spiritual formation and maturation. The hermeneutically sound and convincing contribution of spirituality is ascribed to its growing academic credibility, its utilisation of its own historical tradition and documented experience, and its discriminative deployment of postmodernism's amenability to Christian spirituality. Finally, the thesis is not concerned with distilling practical ministerial activities from spirituality. It strives, rather, for an understanding of ministry at the ontological level, where self-understanding, vocational awareness and a desire for God realise the essence and dynamic of ministry. / Christian Spirituality, Church History and Missiology / Thesis (D.Th.)

Some scholars have formed a more expansive view of knowledge that moves beyond the cognitive notion of intellect. For example, emotional intelligence (EI) theory posits that human intelligence encompasses both cognitive and emotional competencies, providing a framework for the concept of contemplative practices in an endeavor to support an eclectic understanding of cognition. Contemplative practices may benefit graduate student disposition and inform areas of educator preparation through the use of emotional adeptness in higher education. The purpose of this study was to: (a) develop a self-report measure: Scale of Contemplative Practice in Higher Education (SCOPE); (b) address the issues of validity and reliability related to the SCOPE; and (c) expand the understanding of contemplative practices in the literature. Data collected from an extensive review of the literature, reference to personal experiences, and consultation with an expert panel were used to generate scale items. Exploratory and confirmatory factor analyses were conducted to test the factor model. Analyses resulted in a 30-item factor model with strong reliabilities.

In this collaborative Craft Master project by Ulrika Barr and Kristina Levén, we have investigated how glass can affect an environment to create a space in between. A “Ma-space” that could offer a pause in the everyday life in relation to the public sphere. We have worked parallel with two expressions of glass in relation to a room. Rocks of Glass casted hot glass together with Foamglas and colors and Veils of Glass- fused window glass in leaded techniques. By using filming as a medium, projections brings out the inner world of the glass. Sound is another layer in the collage installation outcome.The collaboration has been from first idea and intuitive investigations in the workshop to the final installation.The material outcome is a unique expression for this Glass Craft duo called BarroLevén. The written part of the project includes both common and separate parts. / <p>In collaboration with Ulrika Barr</p>

Made available in DSpace on 2016-04-27T17:27:05Z (GMT). No. of bitstreams: 1 Jose Paulo Coelho Faradji Chadan.pdf: 375540 bytes, checksum: ab7fc5b38b7db201759793336d7aa00a (MD5) Previous issue date: 2013-09-27 / The dissertation wich the reader has in its hands concerns my master dissertation about the contemplation in the Cloud of Unknowing. The Cloud of Unknowing belongs to the late medieval period (XIV century), and was probably written by a cartusian monk, as a method of teaching a young man, probably around twenty-four years old, about the contemplative life. In his writing, the author compares the contemplative life to two important biblical figures. First he compares it to Mary, that having received Jesus in her house, listens to him patiently, unlike Martha, her sister, that goes about preparing his supper. Next the author compares contemplative life, to Moses, wich with a lot of effort, climbs to the top of the mountain and sees a great cloud. Mary´s passage reports to the gospel according to Luque chapter 10, verse 38-42. Moses passage belongs to the book of Exodus, chapter 24. Mary is compared to her sister Martha. The first one represents the contemplative life, while the second one represents an active life. Moses is compared to Aaron, the last one representing a person wich with little effort and by divine grace contemplates the lord, while the first one is only capable of the same with a lot of effort. We approach the degrees of ascension to the contemplative life: the purgative path; the progressive and the contemplative one. The first degree refers to the active life while the second one refers to the active and contemplative lifes. In its turn the third level relates only to the contemplative life. The active life, being the path lived according the works of mercy and charity, as well as contemplation. Is the search of the spirit becoming closer to God through silence, solitude and loving desire / O trabalho que o leitor tem em mãos, trata da minha dissertação de mestrado acerca do tema da contemplação na Nuvem do Não-Saber. A Nuvem do Não-Saber é uma obra que data do medievo tardio (séc. XIV), tendo sido escrita provavelmente por um monge cartuxo, como modo de ensinar a um jovem em torno de vinte e quatro anos, acerca da vida contemplativa. Na obra, o autor compara a vida contemplativa a duas importantes personagens bíblicas: em primeiro lugar, compara-a a Maria, que tendo recebido Jesus em sua casa, senta-se a fim de, paciente e atenciosamente, ouvi-lo, diferentemente de Marta (sua irmã), que se apressa em preparar-lhe a refeição. Em segundo lugar, mas tão importante quanto, compara a vida contemplativa a Moisés que, com muito esforço, sobe ao cume do monte e vê ali, uma grande nuvem. A passagem de Maria reporta-se ao Evangelho de S. Lucas, no capitulo 10, versos 38- 42, já a passagem de Moisés reporta-se ao livro do Êxodo, no capítulo 24. Maria é contraposta a sua irmã Marta. Esta, representando a vida ativa, e aquela, a vida contemplativa. Já Moisés é contraposto a Aarão. Este, representando a pessoa que, sem muitos esforços e por divina graça, chega à perfeita contemplação assim que o quer, e aquele, só o consegue depois de muitos esforços. Abordamos então, os três graus de ascensão à vida contemplativa: a via purgativa, a via progressiva e a via contemplativa ou apofática. O primeiro grau, respectivo à vida ativa, e o terceiro grau, respectivo à vida contemplativa, sendo o segundo grau, intermediário (partícipe) tanto da vida ativa quanto da vida contemplativa. A vida ativa, sendo a vida vivida segundo as obras corporais de misericórdia e caridade e a vida contemplativa, sendo a busca do espírito em unir-se a Deus, por meio do silêncio, da solidão e do desejo amoroso