I dagens förskoleverksamhet är det i regel ett måste att dokumentera lärandeprocesser för att kunna uppfylla samtliga mål i utbildningsplaner och bistå med god utbildningskvalitet. Pedagogisk dokumentation – som grundades av Reggio Emilia – är ett utvärderingsverktyg som skall observera barnets lärandeprocesser samt förskollärarnas förhållningssätt. I vardagliga situationer i förskoleverksamheten har pedagogisk dokumentation många fördelar som kan kartlägga och ge bra förutsättningar genom att skapa förståelse för hur barn lär sig och utvecklas bäst. Syftet med denna studie var att genomföra en litteraturstudie i kombination med kvalitativa intervjuer som utgick ifrån följande frågeställningar: Hur definierar förskollärare begreppet dokumentation respektive pedagogisk dokumentation? Hur beskriver förskollärare arbetet med pedagogisk dokumentation? Och hur menar förskollärare att arbetet med pedagogisk dokumentation utvecklar verksamheten? Intervjuerna transkriberades och kategoriserades sedan kring hur förskollärarna använder pedagogisk dokumentation, hur synen på pedagogisk dokumentation ser ut samt vilka olika arbetssätt som används. Vid färdigställande av resultatet framgick det att tre av fyra respondenter upplevde pedagogisk dokumentation som något positivt och modernt. En respondent av fyra fann inte pedagogisk dokumentation som ett bra hjälpmedel för utvärdering, då verktyget kan vara oetiskt på så sätt att det kan användas som ett bedömningsverktyg på det enskilda barnet. Diskussionsavsnittet kopplar samman tidigare forskning med förskollärarnas svar kring hur de ser på pedagogisk dokumentation, hur de beskriver arbetet med pedagogisk dokumentation och hur arbetssättet kan utveckla verksamheten. / In today's preschool it is generally a need to document the learning processes in order to meet all the targets in education plans and provide good quality education. Pedagogical documentation is an assessment tool that will observe the child's learning process and reception, as well as preschool teachers' own attitude and was founded in Reggio Emilia. In everyday situations, the preschool has pedagogical documentation many benefits that can identify and provide good conditions by creating an understanding of how children learn and develop best. The purpose of this study was to conduct a literature review combined with qualitative interviews were based on the following questions: How do you define the concept of pre-school pedagogical documentation and documentation? Describes how preschool teachers work with pedagogical documentation? And describes how preschool teachers are to work with pedagogical documentation develops business? The interviews were transcribed and analyzed since around how preschool teachers use pedagogical documentation, how perceptions of educational documentation looks and highlighted their own work. Upon completion of the results showed that three out of four respondents experienced pedagogical documentation as something positive and modern. While one respondent out of four did not find pedagogical documentation as a good tool for evaluation, the respondent meant that the tool can be used as unethically tool on the individual child. The discussion then reconnects to the purpose of the study with arguments based on the results and questions; what the preschool teacher answered on how they view pedagogical documentation, how they describe the work of pedagogical documentation and how operation is developing the activity.

In the previous years, 3D imaging has found his way into the world of Egyptology. This lecture will present two case studies where 3D technology is used for the documentation of hieratic inscriptions. The inscriptions, painted in (red) ochre or black paint, were applied on different carriers, and required a different methodology. The Egyptian collection of the Royal Museums of Art and History (RMAH Brussels) contains a large number of small decorated and/or inscribed objects. Some of these objects are currently in a bad condition - any operation carried on them can result in considerable material losses -, making it necessary to document them in such a way that it allows future scholars to study them in detail without handling them. The EES Project therefore aims to create multispectral 3D images of these fragile objects with a multispectral ‘minidome’ acquisition system, based on the already existing system of the multi-light Portable Light Dome (PLD). The texture/colour values on the created 2D+ and 3D models are interactive data based on a recording process with infrared, red, green, blue, and ultraviolet light spectra. Software tools and enhancement filters have been developed which can deal with the different wavelengths in real-time. This leads to an easy and cost-effective methodology which combines multispectral imaging with the actual relief characteristics and properties of the physical object. The system is transportable to any collection or excavation in the field. As a case study, the well-known Brussels “Execration Figurines” (Middle Kingdom, c. 1900 BC) were chosen. These figurines are made of unbaked clay and covered with hieratic texts, listing names of foreign countries and rulers. The study of this type of collections is mostly hampered by the poor state of conservation of the objects, but also by the only partial preservation of the ink traces in visible light. The method has also been applied to other decorated objects of the RMAH collection, such as a Fayoum portrait, ostraca and decorated objects made of stone, wood and ceramics. The final goal will be to publish the newly created multispectral 3D images on Carmentis (www.carmentis.be), the online catalogue of the RMAH collection, making them accessible to scholars all over the world. The second case study presents the quarry inscriptions of the New Kingdom limestone quarries at Dayr Abu Hinnis (Middle Egypt). These gallery quarries contain hundreds of hieratic inscriptions, written on the ceiling. The texts are mainly related to the general administration of the quarry area. In documenting the abundance of ceiling inscriptions and other graffiti, we had to decide upon a practice that would allow not only to capture the \"content\", but also to document the location and orientation of each record. Every inscription can be photographed in detail, but this is insufficient to provide the reader access to vital information concerning the spatial distribution of the inscriptions, which may, for instance, relate to the progress of work. After experimenting with a variety of other methods, we adopted a photogrammetric software for 3D modelling photographs of the quarry ceilings, AGISOFT PHOTOSCAN, which uses structure from motion (SFM) algorithms to create three-dimensional images based on a series of overlapping two-dimensional images. The ultimate goal of this whole labour-intensive process in the quarries is not the creation of pure threedimensional models, but rather to generate an orthophoto of the entire ceiling of a quarry. Based on these images, each graffito could be analysed in context.

The overall aim of this thesis was to study the thinking strategies and clinical reasoning processes of registered nurses (RNs) and to implement and test a computerized decision support system (CDSS) integrated into the electronic health care record (EHR) to improve patient outcomes, i.e. to prevent pressure ulcers (PUs) and malnutrition among residents in nursing homes.  A think-aloud (TA) study with a purposeful sample of RNs (n=30) was conducted to explore their thinking strategies and clinical reasoning (Paper I). A quasi-experimental study with a convenience sample of residents (at baseline, n=491 and at follow-up, n=480) from nursing homes (n=15) allocated into two intervention groups and one control group was carried out in 2007 and 2009 (Paper II). In Paper III residents’ records were reviewed with three instruments. Nursing personnel (n=25) from four nursing homes that had used the CDSS for eight months were interviewed and the CDSS was tested by nursing personnel (n=5) in two usability evaluations (Paper IV). The results showed that the RNs used a variety of thinking strategies and a lack of systematic risk assessment was identified (Paper I). The proportion of malnourished residents decreased significantly in one of the intervention groups after implementing the CDSS, however there were no differences between the groups (Paper II). The CDSS resulted in more complete and comprehensive documentation of PUs and malnutrition (Paper III). The nursing personnel considered ease of use, usefulness and a supportive work environment as the main facilitators of CDSS use in nursing homes. Barriers were lack of training, resistance to using computers and limited integration of the CDSS within the EHR system (Paper IV). In conclusion, the findings support integrating CDSSs into the EHR in nursing homes to support the nursing personnel.

Improvement of patient care in any hospital depends primarily on the quality of nursing care. Nursing care is enhanced by the nursing process, which outlines the nursing activities to be provided for a patient. The purpose of this study was to determine to what extent the nursing process could improve the quality of nursing care, and to explore the knowledge limitations of nursing staff in implementing the nursing process, nursing care planning and proper documentation. Quantitative research, making use of an exploratory, descriptive and contextual design was conducted, utilising a structured questionnaire for data collection. Registered nurses (n=120) employed at a Referral Hospital in Tanzania served as the respondents. The findings revealed a lack of knowledge in understanding and applying the concepts of the nursing process, especially in formulating the nursing diagnosis. Recommendations pertaining to a focused in-service training programme, integrating theory and practice, were made to enhance the effective implementation of the nursing process. / Health Studies / MA (Health Studies)

Denna avhandling handlar om pedagogisk dokumentation som förändringsverktyg i förskolan. Syftet har varit att förstå lärande och förändring i förskolans verksamhet när pedagogisk dokumentation har använts som verktyg under en längre period. Empirin består av texter av och samtal med personal som arbetar påfyra förskoleenheter som samarbetade kring ett gemensamt projekt som initierats av Reggio Emilia-institutet där pedagogisk dokumentation var ett centralt verktyg. Studien fokuserar frågor kring organisation och förändring då utsagor om detta framstod som viktiga i deltagarnas samtal. Analysarbetet har skett i tre steg. I ett första steg gjordes en tematiskanalys. Materialet sammanställdes i tre teman: 1) En förändrad verksamhet. 2) Erfarenheter av dokumentationsarbete 3) Att organisera för utforskande lärande. I ett andra steg analyserades materialet med hjälp av verksamhetsteori, främst Engeströms modeller av verksamhetssystem och expanderat lärande. I det avslutande analysarbetet användes Wartofskys teorier om primära, sekundära och tertiära aspekter av ett verktyg. På så vis belystes pedagogisk dokumentation ur flera olika synvinklar. Resultatet visar att arbete med pedagogisk dokumentation innebär att förskolepersonal börjar diskutera epistemologiska och ontologiska frågor. Som en följd av detta förändrar förskollärarna sitt arbetssätt, vilket medför att motsättningar uppstår i verksamhetssystemet. För att lösa dessa motsättningar har verksamheten förändrats både på enhetsnivå och barngruppsnivå. Bland annat har arbetslaget utvidgats vid dokumentationsarbete. Det utvidgade arbetslaget har inneburit att berättelserna i dokumentationsmaterialet kommer i rörelse, genom att de analyseras i flera led. Berättelser som är i rörelse och att pedagogisk dokumentation kan uppfattas ur olika aspekter gör att pedagogisk dokumentation kan beskrivas som ett komplext verktyg. / This thesis, is about pedagogical documentation as a tool for transformation in preschool. The aim is to understand learning and transformation in, and of, preschool practice where pedagogical documentation has been used as a tool during a longer period of time. Empirical data consists of texts by, and conversations with, personnel working at four preschool units who cooperated around a mutual project initiated by the Reggio Emilia Institute; a project where pedagogical documentation was a central tool. The study focuses on organizational issues and transformation, as statements about this appeared to be important in the participants' conversations. The analysis is made in three steps. Data was put together into three themes. The three themes are: 1) a changed practice 2) experiences ofworking with documentation, and 3) to organize for exploratory learning. Then, an analysis was made giving an account of participants’ descriptions of working with pedagogical documentation as a joint trip, especially making use of Engeström’s model of an activity system and expanded learning, described metaphorically as a black box. Finally, Wartofsky’s theory on primary, secondary, and tertiary aspects of a tool is used. Thus, pedagogical documentation was illustrated from many different perspectives. The result shows that working with pedagogical documentation has led to preschool teachers discussing epistemological and ontological questions. This in turn led to preschool teachers starting to act differently in pedagogical practice, where acting differently became a trigger for revealing contradictions in the activity system, which participants describe as being solved over time. So, organization of preschool practice had changed on a unit level as well as on a preschool level including the children. Among other things, teacher teamwork has expanded when working with pedagogical documentation. The expanded team has meant that stories from the documented material have come in motion through analysis in several stages. Stories in motion, and pedagogical documentation perceived as seen from different perspectives, can be described as a complex tool.

Bakgrund: Patienter med svår smärtproblematik utsätts för ett stort lidande och risken för psykiska- och fysiska komplikationer ökar. För att behandla dessa patienter på bästa sätt krävs adekvat smärtbehandling. För att kunna följa upp och utvärdera både smärtan och smärtbehandlingen är det viktigt med en god smärtdokumentation. Syfte: Att studera smärtdokumentationen hos tidigare inneliggande patienter med smärtproblematik som under denna tid blivit konsulterade av Smärtcentrum på Akademiska sjukhuset, samt jämföra dokumentationen mellan de avdelningar som studerats. Metod: Studiens forskningsdesign är en kvantitativ retrospektiv empirisk studie där journaler för patienter vars vård Smärtcentrum har varit delaktiga i under 2015 utgjorde datan för studien. Det var 30 ortopedjournaler och 28 onkologjournaler som granskades. Resultat: Resultatet visade att patienterna fick sin smärta dokumenterad två gånger eller färre under en period på tretton dagar. Smärtskattning dokumenterades mest frekvent. Något signifikant samband mellan längden på patienternas vårdtid och frekvens i smärtdokumentation kunde inte konstateras. Det fanns en skillnad i frekvensen av smärtdokumentationen mellan onkologavdelningarna och ortopedavdelningarna. Slutsats: Frekvensen av smärtdokumentationen på de granskade avdelningarna visade sig vara undermålig och följer därmed inte de riktlinjer som finns. Detta försvårar arbetet för både konsultverksamheten samt personal på berörda avdelningar att få en helhetsbild kring patienternas smärtproblematik.  Risken ökar för både komplikationer och lidande hos patienterna. Ytterligare forskning krävs för att undersöka vad anledningen till den bristande dokumentationen är. / Background: Patients with severe pain are subjected to great suffering and the risk of psychological- and physical complications increases. To treat these patients optimally it requires adequate pain management. In order to monitor and evaluate both the pain and the pain treatment it is important with pain documentation. Objective: To study the documentation of pain on previously hospitalized patients with pain problems who during that time were consulted by the Pain Centre at Akademiska hospital, as well as compare the documentation between the included wards. Method: The design is a quantitative retrospective empirical study of medical records of patients consulted by Pain Centre at Akademiska hospital during 2015. The final sample consisted of 30 records from the orthopedic clinic and 28 from oncology clinic. Results: The results showed that the hospitalized patients had their pain documented less than twice during a period of thirteen days. Pain Measurment was documented most frequently. No significant correlation between the length of care and frequency of pain documentation could be found. There was a difference in the frequency of pain documentation between the included wards. Conclusion: The frequency of pain documentation for the consulted patients in the included wards at Akademiska hospital proved to be deficient and does not follow the guidelines. This complicates the work of the health care staff, and the monitoring and evaluation of the treatment. This also increases the risk of complications and suffering of the patients. Further research is required to investigate the reason of the lack of documentation.

The thesis provides an in-depth analysis of motion event descriptions of two Australian indigenous languages. Jaminjung is a highly endangered non Pama-Nyungan language with approximately 50 remaining speakers. Kriol, an English-lexified Creole, is spoken by about 20.000 people in different varieties across northern Australia. While the languages are typologically very different, occupancy of the same linguistic and cultural area provides an intriguing opportunity to examine the effects of culture and language contact on conceptual components and distribution patterns in discourse. This investigation also applies and tests a number of existing frameworks and typologies regarding the linguistic encoding of motion and space in general. The thesis first provides an overview of the encoding of motion event descriptions in Jaminjung and Kriol. It becomes clear that, concerning overt marking of case, ground-encodings follow a systematic semantic pattern with no or rare case-marking for deictic terms, optional marking for toponyms and mandatory marking for all other types of landmarks. Furthermore, the structure and semantics of the motion verb phrase is investigated. Particularly noteworthy here is a study of asymmetrical serial verb constructions in Kriol which revealed a number of previously undescribed types. Following this, various proposals for a typology of Frames of Reference are applied. The notion of ‘anchor’ is at the centre of the analysis. The investigation shows that contextual restrictions for the use of Jaminjung’s absolute terms can be accounted for by a restriction on egocentric anchoring and ‘Orientation’ settings only. Furthermore, absolute Frame of Reference is realised differently in Roper and Westside Kriol respectively, suggesting an ongoing influence of the traditional languages spoken by the respective communities rather than the lexifier English. Jaminjung and Kriol, additionally, prefer the use of absolute over relative Frame of Reference. The following chapter investigates how lexicalisation patterns influence the distribution of path and manner encodings in discourse. After concluding that Jaminjung might best be described as following an equipollently-framed pattern and Kriol as satellite-framed, path and manner salience is investigated in different types of discourse using a dataset of motion event encodings in a Frog Story collection and a general corpus of various discourse environments. It is concluded that while the two languages behave very differently with regards to frequency patterns of ground- and other path-encodings, they show remarkable similarities in distributing path and manner over larger chunks of discourse. These findings suggest that cultural influences may sometimes override structural typological constraints. Finally, motion event encodings in specific types of discourse are analysed. Regarding route descriptions, speakers show a clear preference for dynamic over static modes of presentation. This includes encoding ‘fictive motion’ events for which a figure- and ground-based distinction is introduced. Additionally, concerning the use of deictics in a comparative analysis of different types of corpora for both languages, it was shown that the distribution of absolute terms remains stable across discourse environments while deictic usage differs drastically. Lastly, the concept of ‘motion’ is abstracted and described as a kind of structuring device in narratives. It is shown that the ‘journey’ within the story world is used by speakers of both languages to bridge episodes sometimes even overriding a temporal in favour of a spatial order of events.

The aim of this thesis is to conduct a post-relational reading of the programme of relational art and its influence upon current aesthetics. ‘Post’ is not used in the indicative sense here: it does not simply denote the passing of the high water mark of relational art’s critical reception. Rather, it seeks to identify what remains symptomatically unresolved in relational art through a reading of its texts together with its critique. Amongst these unresolved problems certain questions endure. The question of this art’s claim to autonomy and its problematic mode of appearance and materialism remain at large. Ironically it shares the same fate as the avant-garde it sought to distance itself from; the failure to unite art with the everyday. But it has nevertheless redefined the parameters of artistic production: this is its success. I argue that this is because relational art was internally riven from its outset by a contradiction between its micropolitical structures and the need to find a mode of representation that did not transgress its self-imposed taboo upon visual representation. I identify a number of strategies that relational art has used to address this problem: for example its transitive ethics and its separation of ‘the visual’ from formal representations of public space and of a liminal counter-public sphere. Above all, I argue that its principle of the productive mimesis and translation of social relations through art is the guarantor of this art’s autonomy. My thesis is premised upon the notion that one can learn much about new forms of critical art from the precepts and suppositions that informed relational aesthetics and its critical reception. Relational aesthetics, in fact, establishes the terms of engagement that inform new critical art. Above all, this is because the question of the ‘relation of non-relation’ is bigger than relational aesthetics. The ‘relation of non-relation’ does not denote the impossibility of relation between subjects. Rather, it is a category that identifies non-relation as the very source of productive relations. This can be applied to those liminal points of separation that 6 delineate the territory of critical art prior to relational aesthetics. For example, these instances of ‘non-relation’ appear in the separation of art from non-art; of representation from micropolitics and of the anti-relational opposition of the philosophical categories of the general and the particular. Overall, I seek to reclaim Bourriaud as instrumental to the re-thinking of these categories and as essential to a reading of current critical art discourse. I identify a number of misreadings of relational aesthetics that result from a misrecognition or unwillingness to engage with Nicolas Bourriaud’s direct influences: Serge Daney, Michel de Certeau, Gilles Deleuze and Louis Althusser are often overlooked in this respect. I argue that Bourriaud’s critics tend to bring their own agendas to bear on his work, often seeking to remediate what is problematic. These critiques introduce existing aesthetic and political paradigms into his work in order to claim him as their own. So for example we encounter antagonistic relational aesthetics as the reinstatement of the avant-garde. Also, relational aesthetics as an immanent critique of the commodity form within a selective reading of Theodor Adorno. Also, we encounter dissensual relational aesthetics as ‘communities of sense’ that adopt site-specific methodologies whose mode of inhabitation of the socius is a reaction to relational aesthetics and is premised upon separatism. This diversification of relational art’s critique does not address, however, its fundamental problems of autonomy and representation. Rather, in different ways, they sidestep these issues and duplicate their non-relationality in the form of an impasse. My reading seeks to read the relational programme as a whole and to reclaim that which is symptomatically post-relational within it. I think that this is important because the critique of Bourriaud is presently unduly weighted towards the analysis of Relational Aesthetics (Nicolas Bourriaud, Relational Aesthetics, trans. by S. Pleasance and F. Woods, (Dijon: Les presses du réel, 2002)), thus important developments within Postproduction (2002) and The Radicant(2009) have gone overlooked. Specifically, Bourriaud’s increased emphasis upon a topology of forms and an Althusserian ‘aleatory materialism’ demand that we ask whether relationality in art is ontological or epistemological in form. It also demands that we re-consider its claims to materialism and critical realism on its own terms. Bourriaud’s later works are important not simply because they set out how relational art might inhabit networks of electronic communication but because they begin to develop a more coherent thinking of new modes of relational representation. Bourriaud begins to address the aporia of micropolitics and representation in his later works. His notion of representation becomes increasingly a matter of spatio-temporal relation and the representational act becomes increasingly identified with the motility of the relational act as a performative presentation. In the light of these developments, I argue that the thinking of relation that has thus far dictated the philosophical analysis of relationality and political aesthetics results in an acute anti-relationality or a ‘relational anarchism’. This is why the philosophy of Jacques Rancière and Alain Badiou respectively, are inadequate to the demands of current aesthetics. In fact they hinder its development. On this basis I turn to Rodolphe Gashé’s re-thinking of relation. His thinking grants relation a minimal ontology that in fact excludes it from philosophy, but at the same time, plays a key role in the construction of singularities as new epistemological categories. Gashé suggests a unique epistemological value for relations and recognizes what is evental within them. These singularities find their modes of appearance within various forms of the encounter. Gashé’s thought is helpful in that it identifies the non-relational of relation with its event. Also, I argue that a theory of post-relational representation is necessary to address the ‘weak manifestations of relational art’, although not in a transgressive or messianistic form; also, that this thinking of representation, when combined with aleatory materialism, produces a 8 broad constituency of representational forms with which to construct a more robust critical art. This includes the documentary form. In order to address the objections of micropolitics I therefore advance Philip Auslander’s notion of the performativity of the document as essential to relational aesthetics because it is an art form that in fact requires mediation by the visual. My argument is premised upon the ineliminability of representation from the aesthetic and moreover, that the artwork is constituted within a broad nexus of operations and acts of signification. This fragmentary construction is the source of the objectivity or critical realism of these practices. I argue that ‘visual’ documentation functions as a tool for presencing and connecting relations of exchange but is merely one of the forms of representation available to visual artists.

This master’s thesis has the intent of showing that the tattoo can be regarded as an individuals document according to prevailing notions in archival science. Suzanne Briets definition of the concept of document is used in this thesis as a widening definition, a document does not have to presented in a defined form, it is only required to represent an object or intellectual phenomenon and to be informative. Tattoos are presented in this thesis as informative with regard to the status and position of russian/soviet convicts and as such presenting an individuals identity within a specific context. As documents they also provide the individual with the essential evidence of his or her endeavours in a criminal environment. Also, they have the ability to function as an individuals memories of relationships, hardships and comradeships. Memory, evidence and identity are concepts upon which archival theorists are reworking the role of archives and documents in society and culture. The method presented in this thesis is image analysis applied to a selected number of photographs and drawings owned and published by a design and publishing company in London. The image analysis has as its focus the tattoos visible upon individuals bodies, these tattoos are interpreted and made relevant with regard to historical circumstances and the prison environment. The image analysis in this thesis is complemented by litterature studies. The thesis also provides a recapitulation regarding previous research concerning tattoos within the human and social studies. The conclusion this thesis presents is that it is possible to view the tattoo as a document, bound to an individual, which mirrors the society and culture in which the individual finds himself. It is also possible to view the tattoo as mirroring indivudals possibilities, wishes and memories. Finally, the tattoo presents itself, in this context, as a document that may represent a critique of a dominant society or simply the voice of the alienated.

Disertacijoje analizuojama problematika, susijusi su šiuolaikinio meno praktikomis, kai menininkas ar kuratorius, siekdamas įgyvendinti savo kūrybinį sumanymą, meno projekte kaip medžiagą pasitelkia žmones. Tokie projektai paprastai išeina už estetinio lauko ribų: jie nebe reprezentuoja socialinę ar politinę tikrovę, bet ją atlieka. Todėl disertacijoje siekiama suformuoti koncepcinį modelį, kuris leistų kelti ir analizuoti dalyvaujamojo meno, kaip lygiagrečiai estetinėje ir socialinėje sferoje egzistuojančios praktikos, problemas. Modelis pagrindžiamas ir išplėtojamas remiantis pirmiausia klasikinės gamybos ir veiksmo (poiēsis ir praxis) skirties permąstymu ir pamatine prielaida, kad šiuolaikinė gamyba vis labiau panėšėja į veiksmą (Paolo Virno, Giorgio Agambenas). Teigiama, kad dalyvavimo praktikos bene aiškiausiai išreiškia šią gamybos ir veiksmo dialektiką šiuolaikiniame mene. Į vieną tinklą susiejus skirtingas filosofines koncepcijas (šnekos, taktikos, kasdienių praktikų, performatyvumo, kartotės), suformuojamas modelis, kuris pritaikomas dalyvavimo praktikų Lietuvos šiuolaikiniame mene analizei. Parodoma, kaip žvelgiant per gamybos ir veiksmo prizmę išryškėja tam tikros bendros su dalyvavimu susijusios problemos (pvz., dokumentacijos, meno įvykio ir meno kūrinio, darbo ir pramogos santykio ir kt.). Drauge koncepcinis modelis padeda atskleisti kiekvieno paskiro projekto specifiką, kvestionuoti kai kurias įsigalėjusias meno kritikos nuostatas, išryškinti naujus aspektus. / The dissertation deals with issues of those art practices, where an artist or a curator employs people as a project material so as to realize his/her creative purpose. Projects like this commonly expand beyond the aesthetic field: instead of representing social or political reality, they actually perform it. Therefore the dissertation aims at constructing a conceptual model that would enable the analysis of the problems around participatory art, as a practice operating both in aesthetic and social fields. The model is based primarily on rethinking of the classical divide between production and action (poiēsis and praxis) and the principle premise that contemporary production is increasingly becoming akin to action (Paolo Virno, Giorgio Agamben). The dissertation suggests that participatory practices are the clearest evidence of this dialectics between production and action in contemporary art. The model constructed of diverse philosophical concepts (idle talk, tactics, everyday practices, performativity, iteration) is employed for analysis of participatory art practices in Lithuania, which shows how looking through the prism of production and action foregrounds certain problems, general to participatory art (e.g. those of documentation, relation between art event and artwork, labor and entertainment, etc.). At the same time it proves to be a handy tool that helps to highlight peculiarities of a particular project, to question certain established prejudices, and to unveil new... [to full text]