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This study aims at explaining the significance of the &ldquo / field&rdquo / concept in contemporary architecture and urbanism, in reference to the technical definitions of the term in different disciplines. In this context, it investigates the concepts of &ldquo / field&rdquo / in physics, psychology, art theory and criticism. It highlights the reinterpretation of the &ldquo / field&rdquo / concept in physics by eminent Gestalt psychologists, and its consequences for architecture and urbanism. Starting from the definitions of the concept of &ldquo / field&rdquo / by Kurt Koffka and Kurt Lewin, and from the Gestalt Theory that constitutes the basis of these definitions, it brings into discussion a group of related notions that have been employed in art and architectural theory and criticism: &ldquo / psychophysical field,&rdquo / &ldquo / psychological life space,&rdquo / &ldquo / figure-ground,&rdquo / &ldquo / figure-field,&rdquo / and &ldquo / field-field.&rdquo

[pt] O editorial de um jornal de grande circulação faz mais do que emitir uma opinião. Ele tem poder de transformação e, muitas vezes, até mesmo de manipulação das massas de leitores. Motivada por este saber intuitivo, esta pesquisa investigou os processos psico-pragmáticos que o poderiam explicar academicamente. Adotou a Lingüística Funcional Cognitiva como abordagem teórica, mais especificamente o Modelo dos Espaços Mentais de Fauconnier (1994; 1997), assim como a Análise do Discurso (Brown e Yule, 1983). Para fazê-lo, analisou um corpus de 20 editoriais publicados nos maiores jornais do Brasil, à luz dos seguintes princípios norteadores: mesclagem, perspectivação e jogo figura-chão e elegeu as orações subordinadas como foco investigativo. Os resultados apontam que as orações subordinadas substantivas são as que mais tipicamente ocorrem no corpus assim como indicam que elas constituem espaços de referenciação nos quais crenças se colam com o espaço da realidade, projetando opiniões como se estas fossem verdades. Apesar de sintaticamente funcionarem como chão, perceptualmente são salientes e funcionam como figuras. Através da análise utilizada, a pesquisa conseguiu mostrar sistematicamente aquilo que muitos leigos apenas intuem e poderá ser ponte para práticas pedagógicas na escola de jornalismo que envolvam um processo de reflexão crítica sobre o processo cognitivo de mesclagem que ancora a produção dos editoriais. / [en] Editorials published by major newspapers project more than facts. Rather, they have the power to transform and, many times, even to manipulate readers. Inspired by common knowledge of such nature, this research aims to investigate the psycho-pragmatic facts that could explain it academically. It adopts the framework of Cognitive Linguistics, mainly Fauconnier s (1994;1997) Mental Spaces Model, as well as Discourse Analysis (Brown and Yule, 1983). To accomplish its aims, it analyzed a corpus of 20 editorials published in major Brazilian newspapers in the light of principles such as blending, figure-ground, and perspectivization and focused on subordinate clauses. Results indicate that nominal subordinate clauses are highly frequent in the genre and that they constitute a space where beliefs blend with reality as if they were one and the same. Although they function as ground syntactically, perceptually they are figure. Therefore, the research succeeded in demonstrating academically some possible psycho-pragmatic roots for the power of editorials. Programs that educate prospective journalists may benefit from its results.

I Stockholm pratades det om klubbdöden under 2019 eftersom flera högljudda kulturaktiviteter behövt stänga i innerstaden. Den huvudsakliga anledningen var konflikter mellan boende och kulturaktiviteter om bullerstörningar som naturligt uppstår när människor ska bo, verka och leva i en tät blandstadsmiljö. I Slakthusområdet ska denna problematik bemötas för att bli en nöjes- och evenemangsknutpunkt tillsammans med höga målsättningar om bostadsbyggande i blandstad. Den tidigare forskningen visar på att god ljudmiljö är mer komplext än endast reduceringen av önskade ljud utefter mätbara decibel. I Kulturkvarteren möts förståelsen av god ljudmiljö och blandstaden vid planeringen av högljudda kulturaktiviteter och utgör därför fallet i denna studie. I form av en kvalitativ innehållsanalys studerades planeringens förutsättningar, intentioner och åtgärder för att svara på om god ljudmiljö och blandstad är förenligt vid planeringen av högljudda kulturaktiviteter. För att studera det tillämpades teorin om ljud som en resurs och ljud som oönskat buller tillsammans med teorier om vad som utgör blandstaden. Dokumentstudier innefattade Slakthusområdets planprogram och Kulturkvarterens olika plandokument. Övergripande dokument från myndigheter studerades också för att skapa en större förståelse för planeringens förutsättningar. Intervjuer utförde med en planarkitekt, miljöutredare, nationell bullersamordnare, jurist och akustiker på Boverket, Naturvårdsverket, Miljöförvaltningen och Stockholms stad. Resultaten visar på att, i Kulturkvarteren, har ett defensivt förhållningssätt utgåtts ifrån där kulturaktiviteters ljudnivåer begränsas för att möjliggöra blandstadskvaliteteter. Möjliggörandet av en större variation i funktioner, människor och aktiviteter på den lilla skalan underbygger planeringens intentioner och åtgärder för en ljudmiljö där ljudkällor ska vara i balans med varandra för att inte maskera andra ljud. Bostadens riktvärden för ljud är den centrala faktorn i förutsättningarna för ljudmiljön i blandstaden och planeringens intentioner för den urbana ljudmiljön kunde därför ses som en funktion av bulleråtgärder snarare än direkta intentioner och åtgärder. Planeringen av kulturaktiviteter innebar därför inte en god ljudmiljö där högre kulturella ljud konsolideras i blandstadsmiljön utefter ljudets mening och sociokulturella kontext. Kulturkvarteren som en plats där högre kulturellt ljud görs möjligare, i högre grad, än i resten av innerstaden kunde därför ifrågasättas. Förenligheten i god ljudmiljö och blandstad vid planeringen av högljudda kulturaktivitet i Kulturkvarteren är hög i många aspekter. Högre ljudnivåer i lokaler möjliggörs och en god ljudmiljö utomhus och i bostäder säkerställs baserat på effekten på människors fysiologiska hälsa. Det förutsätter däremot en förståelse av god ljudmiljö som tystare där högre ljud, oberoende av dess subjektiva uppskattning, ska reduceras eller kontrolleras. Förenligheten i god ljudmiljö och blandstad är därför kontextuell. Högre ljudnivåer som en resurs kan innebär goda ljudkvaliteter utifrån platsens sociokulturella aspekt och ljudets mening men det är mindre förenligt med blandstaden på grund av riktvärdenas tillämpning men även planeringen intentioner för blandstadskvaliteter på den lilla skalan. Möjliggörandet av högre kulturljud i Kulturkvarteren innebar en reglering som säkerställer att riktvärden inte överstigs och inte att högre ljudnivåer möjliggörs i den urbana miljön. Jag anser därför att god ljudmiljö måste lyftas i bredare mening för att möjliggöra en större variation av ljudmiljöer som kan skapa platser i innerstaden för de kulturaktiviteter som inte ryms under riktvärdenas mätbarhet men som tillför andra goda ljudkvaliteteter. / In Stockholm, there was a discussion about the death of clubs in 2019 due to the closure of several vibrant cultural activities in the city centre. The main reason behind this was conflicts between residents and cultural activities regarding noise disturbances that naturally occur when people live, work, and coexist in a densely populated urban environment. In the Slakthusområdet area, efforts are being made to address this issue and transform it into a hub for entertainment and events, while also setting ambitious goals for mixed-use residential development. Previous research indicates that a good sound environment is more complex than simply reducing the desired sounds based on measurable decibels. In one of Slakthusområdets areas, Kulturkvarteren, the understanding of a good sound environment meets mixed-use urban development when planning for loud cultural activities, thereby making it the case of the study. Using a qualitative content analysis approach, this study examines the conditions, intentions, and measures taken in the planning process to determine whether a good sound environment and mixed-use urban development are compatible when planning for loud cultural activities. To study this, a theoretical framework consisting of sound as a resource and sound as unwanted noise was applied. This was then studied by applying theory regarding what constitutes the mixed-use city. The study involved examining documents such as the Slakthusområdet's master plan and various planning documents related to the Kulturkvarteren. Additionally, overarching documents from relevant authorities were also studied to gain a better understanding of the planning conditions. Interviews were conducted with a planning architect, environmental assessor, national noise coordinator, lawyer, and acoustician from Boverket, Naturvårdsverket, Miljöförvaltningen, and the City of Stockholm.  The findings demonstrate that, in Kulturkvarteren, a defensive approach has been taken, wherein the sound levels of cultural activities are limited to enable mixed-use qualities. Facilitating a greater variety of functions, people, and activities on a small scale supports the intentions and measures of the planning process aimed at achieving a sound environment where sound sources are balanced to avoid masking other sounds. The residential sound standards serve as a pivotal factor in shaping the acoustic conditions in the mixed-use city, and the planning intentions for the urban sound environment can therefore be viewed as a function of noise control rather than direct intentions and measures. Consequently, the planning of cultural activities does not result in a good sound environment where higher cultural sounds are integrated into the mixed-use environment based on the meaning of sound and sociocultural context. Therefore, the notion of the Kulturkvarteren as a place where higher cultural noise levels are enabled compared to the rest of the city could be subject to scrutiny. The compatibility between a good sound environment and mixed-use in the planning of loud cultural activities in Kulturkvarteren is favourable in several aspects. Higher sound levels indoors are made possible, and a favourable sound environment is ensured outdoors and in residential areas based on the impact on people's physiological well-being. However, this presupposes an understanding of a good sound environment as being quieter, where higher sounds, regardless of their subjective appreciation, should be reduced or controlled. Therefore, the compatibility between a good sound environment and mixed-use is context dependent. Higher sound levels, as a resource, may provide favourable sound qualities based on the sociocultural aspect of the location and the meaning of sound. However, it is less compatible with the mixed-use city due to the application of sound standards and the planning intentions for mixed-use qualities on a small scale. The facilitation of higher cultural sounds in the Kulturkvarteren entailed regulation to ensure that sound standards are not exceeded, rather than enabling higher sound levels in the urban environment. Hence, I argue that a broader understanding of a good sound environment is necessary to allow for a greater variety of sound environments that can create spaces in the city centre for cultural activities that fall outside the scope of measurable sound standards but contribute to other favourable sound qualities.

Urbana miljöers komplexitet och rörelse kräver noga planerad ljussättning och omsorgsfull prioritering i samspelet mellan att lyfta fram viktiga element och lämna andra åt sidan. För att minska risken för överbelysning genom ljussättning av objekt med stor ljushetskontrast mot dess bakgrund bör alternativa metoder för att framhäva landmärken i stadsrum utredas. Detta examensarbete undersöker hur upplevelsen av mindre urbana landmärken påverkas av ljushetskontraster i dess bakgrund. Studiens syfte är att undersöka hur landmärkenas bakgrundsbelysning utformas idag, samt hur framhävning av landmärken påverkas av ljuskontrasten i dess bakgrund. Genom att använda ljussättning av landmärkenas bakgrundsmiljö som ett verktyg, syftar studien till att bidra till att skapa en tydlig och lättförståelig orientering genom stadsmiljön under mörka timmar.  Studien genomfördes i tre delmoment genom ett fältexperiment, intervjuer och ett kvasi-experiment. Observation av utvalda urbana objekt och dess omgivning genomfördes i fältexperimentet. Detta följt av två semistrukturerade intervjuer kring ljusdesigners beaktningstagande av bakgrunden vid ljussättning av landmärken i urban miljö. Vid observation av studiens kvasi-experiment analyserades generella miljöer med olika bakgrundsprinciper i en iscensatt urban miljö.  Resultaten av studien visar att olika stort beaktningstagande tas angående ljussättningen av urbana objekts omgivning, beroende på tidigare erfarenhet av ljusplanering. Studiens kvasi-experiment visade att ljushetskontrasten mellan ett urbant objekt och dess bakgrund, tillsammans med ljushetskontraster och formen på ljusbilderna inom bakgrunden, påverkar hur objektet uppfattas. Resultaten indikerar att en ljussättning av en urban miljö, med hänsyn till ovanstående faktorer, har påverkan på upplevelsen av objekten i miljön. Då bakgrunden är ljussatt lågmält, symmetriskt och då hela bakgrunden är definierbar ges en uppfattning om den omgivande miljön, vilket gör att objektet framhävs. / The complexity and movement of urban environments require carefully planned lighting and prioritization in the interplay between highlighting important elements and leaving others aside. In order to reduce the risk of over-lighting by lighting objects with a large brightness contrast against their background, alternative methods for highlighting landmarks in urban spaces should be investigated. This thesis examines how the experience of smaller urban landmarks is affected by brightness contrasts in its background. The purpose of the study is to investigate how the background lighting of landmarks is designed and is being designed today, as well as how highlighting of landmarks is affected by the light contrast in its background. By using lighting of the landmarks background environment as a tool, the study aims to help create a clear and easy-to-understand orientation through the urban environment during dark hours.  The study was carried out in three phases through a field experiment, interviews and a final quasi-experiment. An observation of selected urban objects and their areas was carried out in the field experiment, followed by two semi-structured interviews regarding lighting designers consideration of the background when lighting landmarks in an urban environment. When observing the studys quasi-experiment, general environments with different background principles were analyzed in a staged urban environment.  The results of the study show that varying degrees of consideration are taken regarding the lighting of urban objects surroundings, depending on previous experience with lighting planning. The studys quasi-experiment showed that the brightness contrast between an urban object and its background, together with brightness contrasts and the shape of the light images within the background, affects how the object is perceived. The results indicate that the lighting of an urban environment, taking these factors into account, has an impact on the experience of the objects in the environment. When the background is lit softly, symmetrically, and when the entire background is definable, an idea of the surrounding environment is given, which makes the object emphasized.

No description available.

Collaborating in the Electric Age: [onto]Riffological Experiments in Posthumanizing Education and Theorizing a Machinic Arts-Based Research is a study about locating opportunities and entry points for introducing consideration of the nonhuman and posthuman to pedagogical perspectives that are traditionally concerned with human beings and epistemological subjects. The research, herein, engages doings in collaborative effort, during conditions of unprecedented interconnectedness facilitated by the electric age. Steeped in a environment thus created by technologies’ immense ubiquity and influence, this collaboration endeavours to recognize their full research participation, alongside that of humans. This research presents collaboratively conducted, published inquiries that have been coauthored by myself and fellow doctoral candidate Richard Wainwright. Each facilitates, then attempts to articulate ways to decentre the human in educational contexts, beginning with our own human perspectives. As exercises in broadening our considerations of the life forms, matter, and nonhuman entities that surround humanity, this research prompts us to recognize much more than what humanity typically acknowledges as existing, given the anthropocentric frameworks it has constructed. We reorientate the nature of these relationships—posthumanizing them—and in doing so, disrupt our own thinking to work something different than our circumstances have hitherto informed us to consider. We have co-developed a study and conducted research in collaboration with human and nonhuman research participants.Five nationally and internationally published co-authored journal articles, a book chapter, and five intermezzos (short “observational” pieces) comprise this study that explores collaboration and recombinatoriality during “the electric age” (McLuhan, 1969, 10:05). Recognizing humanity’s increasingly inextricable relationships with technologies, this collaboratively conducted study draws into creative assemblage Gilles Deleuze and Félix Guattari’s philosophical concepts; new materialism as cultural theory; the prescient observations and predictions of Marshall McLuhan and a media studies curriculum he co-developed over forty years ago; arts-based research; museum exhibitions; features of music production such as sampling, mashup, remix, and turntabling; among many other notes and tones. A conceptually developed riff mobilizes our inquiries as “plug in and play,” while its academic study is theorized as [onto]Riffology. Ontological shifts beget a machinic arts-based research (MABR) that develops a posthuman critical pedagogy inspired by Negri and Guattari (2010). Collaborating in the Electric Age: [onto]Riffological Experiments in Posthumanizing Education and Theorizing a Machinic Arts-Based Research celebrates collaborativity, discovery, and learning during the electric age. / Graduate / 2023-01-07