Bread and Puppet Theater's use of performing objects offers an aperture to contemplate complex assemblages that blur lines between the human and the nonhuman. Drawing upon cultural studies, feminist materialism, circus studies, and puppetry studies, I consider both the bread and the puppets as they intersect with various assemblages and fields of interpretation. These configurations demonstrate how the objects embody (non)human, material, and conceptual aspects. Because of this ability to exist within the meshes of binaries, performing objects are well suited to challenge and expose other binaries and hierarchies through three categories of analysis — movement, difference, and intra-action — based on Karan Barad's work on matter. In addition to the theoretical framework, I conducted ethnographic interviews and rely on my own experience as an apprentice at Bread and Puppet in 2004, considering myself as co-constitutive actant within the scope of analysis. I examine the way the theater uses sourdough bread and puppets as performing objects to create meaning, express ideology, apply tension within constructs of power, and demonstrate a model for co-dependent living between humans and objects / Doctor of Philosophy / Objects, despite their connections to daily life, which includes times of celebration and insurgency, remain overlooked as political actants. Bread and Puppet Theater, through performances, protests, and everyday living, places bread and puppetry as central to home and public live for puppeteers and performers. This dissertation asserts that bread and puppetry at Bread and Puppet Theater exemplify a co-creative relationship between people and things. This partnership creates tension in places of power, literal locations and within modes of thinking; simplifies and makes more accessible ideological messages; and evokes solidarity through performance. By considering bread in relation to Bread and Puppet Theater, we can see how bread becomes a fulcrum balancing between those with the most wealth and those with the least. Bread, as a symbol, is used to articulate demands. Its presence alone at protests suggests a list of demands regarding redistribution of wealth, fair wages, and food. As a symbol that touches the lives of all, it becomes an object that can evoke solidarity as a symbol but also as a product that is consumed and shared. Puppetry is exemplary of shared creation between people and objects. The rod puppets used at Bread and Puppet are especially suited to blurring demarcations between these two actants. Embodying this in-between space allows puppets to interrogate and blur other sets of binaries — the sacred and the profane, the religious and the secular, rich and the poor, state power and people, war and peace, and so on. This liminal, blurred space primes puppetry to challenge structures of power during political performances and protests. Ultimately this project considers how objects become central to political action and how, if thoughtfully mobilized, could operate as counter actants within times of turmoil.

This study, the first in its scope on transgender religiosity, is based on in-depth biographical interviews with 13 transgender participants with a Jewish Orthodox background (currently and formerly Orthodox). The primary aim of the study has been to elucidate the entanglements of gender and religion in three periods of the participants’ lives: pre-transition, transition and post-transition. One of the main topics investigated have been the ways participants negotiated gendered religious practices in those three periods. A secondary aim of this study has been to co-theorize, in dialogue with the participants, different possible paths for religious change; that is, the ways in which the larger Orthodox community might respond to the presence of openly transgender members in its midst. Concerning the findings, in the course of this study I have developed the themes of dislocations and reversal stories to explain how the participants negotiated the entanglements of gender and religion particularly in the transitional and post-transitional periods. The latter theme–reversal stories–has been of special relevance to explain how gendered religious practices, which were generally detrimental to the acceptance of the participants’ gender identities during the pre-transitional period, had the potential to become a powerful source for gender affirmation after transition. In this study I argue that this possibility and its related mode of agency are not contained within the binary resistance/subordination that feminist scholars have developed to account for the agency of women in traditionalist religions. In order to better conceptualize the notion of agency and explore the nature of the mutual entanglements of gender and religion, I deploy the body of theoretical work developed by Karen Barad known as agential realism. Lastly, I conclude by examining my initial commitments to social constructionism (in Peter Berger’s definition). In the final chapter, I describe how in the course of my study I have encountered three unexpected sites of resistance to social constructionism that have led me to reconsider my previous epistemological commitments and embrace posthumanism as a more satisfactory alternative. / The Impact of Religion - Challenges for Society, Law and Democracy

Med detta kandidatarbete vill jag synliggöra datorns roll i digitalt skapande. Detta genom att se till den kod som utgör digitala objekt som ett materia, och utifrån Karen Barads teorier om agentiell realism samt forskning i digital materialitet bjuda in denna digitala materia som en aktör i skapandeprocessen. Jag har strävat efter en inblick i hur digital materia framträder när den tillåts verka som en aktör, hur den tar ett uttryck och yttrar sig. Jag har engagerat mig i digital materia med diffraktion och remix som metod, vilket tillåtit mig en djupare inblick i det samt en inkluderande process där jag och materiat verkar tillsammans; i intra-aktion. I slutändan ser jag hur digital materia inte framträder ensamt, både jag och dator finns sammantrasslade i dess framträdande som ett resultat av den intra-aktion vi mötts i. Mitt ingripande i digital materia blir synligt i form av glitches, spår av digitalt förfall som ger det annars flyktiga digitala materiat mer materiella och konkreta egenskaper. Det blir även tydligt hur digital materia innebär en svårförstådd komplexitet, som framträder visuellt när det tillåts påverka denna skapandeprocess. Men jag även erhållit en medvetenhet om hur digital materia inte har ett absolut framträdande, och mitt arbete kan ses som en undersökning i hur digital materia kan framträda. / With this bachelor thesis I aim to bring to light the role of the computer in digital creative work. This is accomplished by treating the code that make up digital objects as a form of matter, and with Karen Barad’s agential realism and other research into digital materiality as a point of reference this matter is invited to the creative process as an actor. I’ve been striving for a glimpse of how digital matter comes to life when it’s allowed an active part in the creative process, to see how it expresses itself. By engaging with the digital matter through diffraction and remix as methods I’ve been given an insight into the core of it, and through the process I’ve been working alongside digital matter in intra action. Ultimately I can see how digital matter won’t appear alone, I myself and the computer are both entangled together with the digital matter as a result of the intra actions we’ve been engaging in. My intervention in digital matter becomes visible as glitches, traces of decay that give the digital matter, which can be so fleeting, more concrete and material characteristics. The unintelligible complexity of digital matter also comes to light when it’s allowed influence, as it appears visually. With this knowledge I’ve gained the awareness that digital matter does not have an absolute appearance, and this thesis can be seen as an investigation into how digital matter can appear.

The aim with this research is to get an idea ​​how younger preschool children embrace literacy in spontaneous activities, started by themselves or together with other people. We want to pay attention to and delimit the literacy events and investigate, interpret and understand what happens in the interaction between the children and between children and the material in the preschool environment. In addition to get an understanding how the children interact with the material in the physical environment and what strategies they use in the encounter with literacy. We hade to observe the children closely, in order to achieve that we conducted, an ethnographically inspired study, we can interact and observe children for a longer period. That helped to give us the opportunity to get closer to the children and we were regarded as a natural part of the group. Based on the observations, we saw that the children are exploring literacy with the material, which includes pens, papers and books. The specific material captured the children's curiosity and it contributed to that they started "test-writing" and "test-reading", both on their own but also with others. Although the children in some situations wanted to explore the material themselves, at the same time they wanted to be close to the group. Based on Karen Barad's theory of realistic realism, we saw that the environment and the material interact with the children. We can note that the children conquer literacy, literally in social interactions but in order to conquer literacy, the material's availability is crucial.

It is essential to consider what new technologies mean to the people who use them and the ways in which they are experienced and used. In the context of public transit services in Saskatoon, understanding what the recent changes from a manual to an electronic/automated system means to users and the broader community is critically important to the overall assessment of the service. Investigating users’ lived experiences and interpretations of technical artifacts is valuable to understanding socio-technical relations or the embodied interactions of humans and machines as “technologies-in-practice.” Research into socio-technical relations has primarily focused on large scale technological systems and expert practices while less attention has been paid to “seemingly mundane” technologies or technical artifacts routinely used in everyday life. At the same time, this preoccupation has overshadowed or downplayed the importance of exploring users’ experiences and interpretations of technologies. The goal of this research is to contribute to the sociological understanding of mundane technologies-in-practice and socio-technical relations more broadly. In order to gain insight into this relationship, this thesis focuses on bus riders’ (users) and the community’s perceptions of the Go-Pass smartcard and electronic fare system used by the public transit service in Saskatoon. The perspectives of Go-Pass users and community stakeholders (n=15) were investigated using qualitative semi-structured interviews to gain deeper understanding into the complex relationship between users and technologies. Drawing from Science and Technology Studies (STS) and the sociology of technology literature, I propose that a sociomaterial theoretical perspective following a mutual shaping framework offers insight into socio-technical relations. Both critical and feminist technology studies literature has been helpful for developing an understanding of the wider social and political contexts of technical use which underscores this study. In particular, the conceptual insights of “socio-technical assemblages” (Suchman, 2007) and “intra-action” (Barad, 2003) have been helpful tools for exploring agency, subjectivity and power which is key to uncovering the intricacies of socio-technical relations and human-machine interaction. The four main themes emerging from this study were: 1) shifting human-machine roles and relationships; 2) the socio-technical construction of the bus rider; 3) configuring users’ and technologies; and 4) structural issues and social justice implications of technologies-in-practice. The findings demonstrate that the use of this new system is mutually co-constructed by both social and technical factors whereby both the users and the technology inform perceptions and use. There was also the unexpected connection between users’ everyday situated uses, experiences and interpretations of the Go-Pass technologies to wider social-political contexts. There were a number of issues raised in relation to the implementation of the Go-Pass system which had negative effects or unintended social and technical consequences particularly for those most marginalized economically. At the same time, there were important benefits and positive effects on riders’ quality of life and use of the service. Finally, participants’ perspectives have contributed to understanding what the Go-Pass technologies mean to them, the ways in which they are used in practice and the ways in which the mixing of people and seemingly mundane technologies shape relations in everyday settings.

Vi vill med det här kandidatarbetet inleda en konversation med havet. Tillsammans med Karen Barads posthumanistiska performativitet, agentiell realism, vill vi utmana och ifrågasätta den antropocentriska designerrollen där materialiteten ses som passiv och designern som ensam härskare över meningsskapandet i designprocessen. Med Barads onto-epistemologiska utgångspunkt undersöker vi hur design-processen uppstår i arrangemang av både mänskliga och icke-mänskliga aktörer, där mening framförhandlas genom relationer inom fenomen. Genom att tillämpa detta posthumanistiska förhållningssätt i lekfulla experiment tillsammans-med-havet kan vi se hur mening är situerad och skapas inom de materiell-diskursiva fenomen och apparater som utgör designprocessen.  Vi förstår designprocessen som ett ingripande i världens tillblivelse. Ett ingripande där ett kollektiv av aktörer står som medskapare, där mening, kroppar, subjekt och objekt uppförs och samformas genom intra-aktion. Detta förhållningssätt föder en medvetenhet om vårt ansvar i att ingripa i världens tillblivelse och vårt ansvar för de kroppar som skapas, en etik i handling. / In this Bachelor thesis we aim to establish a conversation with the sea. With Karen Barads posthumanist performativity, agential realism, as our companion we aim to challenge the anthropocentric role of the designer. In doing this we question the view of materiality as passive and the designer as the sole creator of meaning in the design process.  With Barads onto-epistemological standpoint we explore how the process of design is enacted in a performance of human and non-human actors, where meaning is negotiated through relations within phenomena. By putting this posthumanist notion into practice through playful experiments together-with-the-sea, we can understand how meaning is situated and shaped within the material-discursive phenomenas and apparatuses that is, and is part of, the design process.  We understand the design process as an intervening in the world’s becoming. An intervening where an assemblage of actors stands as co-creators and where meaning, bodies, subject and object is enacted and co-shaped through intra-action. This perspective gives us an awareness of our responsibility to intervene in the world’s becoming and our accountability for the bodies produced, an ethics in action.

This study is about 1-3-year-old children and their meeting with the documentation made available to them by preschool teachers. Eight preschool teachers in seven different preschools were interviewed. These interviews were combined with observations of the preschool environments to be able to view the documentation that was made available to the children. In this study we examine what happens in the meeting between children and material objects in documentation practises. We also sought to understand how material objects play a role in children’s participation in documentation practises. In this study we therefore use Karen Barads (2007) theory of agential realism to analyse the relationship between humans and the material environment. Basing the analysis on agential realism by viewing material objects as active agents instead of passive, we were able to gain insight into how photographs of children taking part in earlier activities or pictures of insects played a part in the activities and negotiations around the documentation. The youngest children’s handling of the documentation made available to them did not always coincide with the expectations of the preschool teachers. The documentations hanging on the wall would be worn out or taken down by the youngest children. Understanding the potential meaning behind the worn-out corners was made possible by using an agential realist approach where the child is seen as entangled in a constant intra-action with the human and non-human environment. We found that an agential realist approach has the potential to contribute to a versatile understanding of documentation practices with preschools youngest children.

In this thesis the aim is to examine how objects matter with regards to orientation in the work To Pieces written by the Finnish author Henry Parland. The question posed by Sara Ahmed in Queer Phenomenology becomes the starting point of this work. The aim of returning to this question is to accentuate the role of objects in the process of orientation. More specifically how the things themselves make up the life-world, which can be described as a “coherency of things”. When the lifeworld and the subject is aligned the world is familiar and open. It becomes a world that lets the subject in question extend itself and act as it intends. When the orientation fails, the subject becomes disorientated, the world falls apart. The things are used as tools to extend the subject in its world. But things are not mere tools for the subject to extend itself with. The things can be seen as having agency, something that is examined through the theory of agential realism by Karen Barad. Here the agency of matter is examined in such a way that the binary opposition of subject-object is questioned. Instead Barad suggest that we return to the matter itself and examine how it intra-acts in such a way that the boundaries and entities are formed within the so-called phenomena. Together these two theories are put to work in the novel To Pieces which becomes a place for them to join together by showing how orientation is formed reciprocally in the subject-object discourse. The novel is full of human intra-action with things, be it mirrors, photografies, cigarettes, hats, or other humans who are reduced to objects. From here the things themselves set in motion a kind of revolution, which questions the anthropocentric order.

Given the state of the planet at present —specifically, the linked global ecological and economic crises that conjure dark imaginings and nihilistic actualities of increasing resource depletion, poisonings, and wide-scale sufferings and extinctions—I ask What might we hope now? What points of intervention offer possibility for transformation? At best, the response can only be partial. The approach this thesis takes initiates from specific pre-discursive assumptions. The first understands current conditions as having been produced, and continuing to be so, through practices that enact and sustain neoliberal relations. Secondly, these practices are expressive of a subjectivity tied to a Cartesian worldview, which, therefore, needs to be interrupted at its foundational roots. Thirdly, the scaffolding that supports this subjectivity draws on Newtonian science and neo-Darwinian narratives deemed to be natural law and, therefore, ontological, immutable reality. Contrary to modernist thinking, I premise that these two strains, subjectivity and science, are neither autonomous nor ontological, but that they are materially and contingently integral. Finally, this thesis presumes that different and life-affirming trajectories are, in fact, desired. An integral framing of science and subjectivity provides a productive method of feminist science studies analysis and theorization. Observing the capitalist Western social imaginary through this lens reveals its philosophical and scientific infrastructures to be outdated and crumbling. Observing how emerging scientific narratives in quantum physics and systems-biology intersect with marginalized theories in process-philosophy and subjectivity reveals a life-affirming imaginary of difference, one that arrests nihilism and sets ethical trajectories in motion. Certain, though not all, percepts of feminist new materialism engage twentieth and twenty-first century sciences successfully to show that ethicality matters. Though many questions remain, this points auspiciously towards the possibility for a transformed politics of justice.

Detta arbete syftar till att undersöka de relationer som uppstår mellan teaterrekvisita, skådespelare och ljudtekniker genom det posthumanistiska perspektivet agentiell realism. Jag utforskar även vilka fenomen som uppstår ur dessa relationer. Vad händer när sensorer implementeras i rekvisitan så att skådespelarna själva kan trigga vissa ljudeffekter från scenen?  För att undersöka detta har jag tagit fram prototyper av teaterrekvisita med sensorer och på så sätt i viss mening gett föremålen en egen röst. Detta bidrar till att de kan delta i dialogen med människorna i en föreställning, samtidigt som samspelet mellan skådespelare och ljudtekniker förändras.  Genom processens olika iterationer har gränsen mellan subjekt och objekt blivit allt mer otydlig, liksom den mellan de olika rollerna. Skådespelaren blir i viss mening ljudtekniker, liksom både rekvisitan och ljudteknikern i sin tur blir skådespelare. / This thesis aims to investigate the relationships between theatrical props, actors and sound engineers through the posthumanistic perspective of agential realism. I also explore the phenomena that emerge from these relationships. What happens when sensors are implemented in the prop in order for the actors themselves to trigger certain sound effects from the stage? To investigate this, I have developed prototypes of theater props with sensors and thus in some sense given the objects a voice of their own. This contributes to them participating in the dialogue with the people in a performance, while at the same time changing the interplay between actors and the sound engineer. Through the different iterations of the process, the division between subject and object has become increasingly unclear, just like the one between the different roles. In some sense, the actor becomes an audio engineer, as both the prop and the audio engineer in turn become actors.