This thesis explores the structure and delivery of education programs to justice-involved adults in Canadian federal prisons and in the community. A series of semi-structured interviews as well as three volumes of the Journal for Prisoners on Prisons were analyzed using a qualitative approach to determine whether or not principles of adult education and components of performative space are present in current correctional education strategies. The findings suggest that while there are occurrences of both elements in the education that is provided to prisoners, the programs in the community are much more reflective of these adult learning standards. This project highlights the need for research into the area of adult correctional education, increased collaboration between the fields of criminology and education, and provides a framework from which future research can continue.

Homeplace of Hands: Fractal Performativity of Vulnerable Resistance is a feminist autoethnography of possibility that puts on display two new concepts I’ve named fractal performativity and vulnerable resistance. Fractal performativity as a way of seeing is an integrative performance methodology that utilizes fractal geometry and performative autoethnography and brings together performance studies, feminist theory, multiethnic literature, personal story and poetry to communicate vulnerable resistance as a strategy for social transformation and selfhood. Vulnerable resistance as a way of being embodies a praxis of homeplace enacted through five modes I’ve identified as nurturance, sustenance, maintenance, performance, and alliance, expressed through the daily work of the hand as a metaphor, tool, and fractal. Deploying fractal performativity as an integrative method and conceptual framework, I design the fractal hand as a template that embodies intersecting identities and holds my stories as I cultivate homeplace and enact vulnerable resistance through the five modes. For scholar-artist- activists working on the margins, this integrative strategy offers hope to keep coming back day after day, and a template for cultivating homeplace of vulnerable resistance.

This dissertation investigates Marcel Proust's observation and depiction of performative discourses and identity in A la Recherche du Temps Perdu. The first-person and semi-omniscient narrator's transgression of traditional narrative practices provides him with the unique perspective of both an actor and a spectator in the public and private performances that structure the creation and perception of identity. Accordingly, this analysis explores the methodical confinement of identity to orthodox systems of categorization and considers how these rigid systems affect social, psychological, and sexual economies. I argue that Proust's unique narratological approach and stylistic techniques allow him to expose the conventional codes that define identity as he simultaneously undermines them, thereby proposing new, creative ways for understanding the concept of identity. Chapters 1 and 2 explore the narrator's introspective look at the evolution of his own individuality in relationship to his surroundings and other characters. In chapter 3, the focus shifts from the analysis of the narrator to a consideration of his mise en scène of several similar homoerotic encounters that, when viewed as a whole, combine to form a queer and innovative discourse on sexuality. Chapters 4 and 5 study the construction of social image through the narrator's portrayal of interaction in and among different economic classes in society. The study concludes with a discussion of the aesthetics of performance art as it is compared and contrasted to performative behavior in Proust's novel. My work contributes to the ongoing inquiry into human behavior and identity formation as portrayed in A la Recherche. Looking beyond conventional notions of identity, I resist the temptation to classify characters in specific categories and focus instead on the narrator's representation of identity as a fluid, circumstantial exchange. Combining performativity theory, queer and gender studies, and narratology allows for an original analysis of the narrator's interpretation of the various factors that influence characters' perception of their own identity as well as others'. On a larger scale, my dissertation advances the scholarship on performative discourses and identity insofar as it brings to light one author's revelation, subversion, and replacement of traditional practices of discerning identity.

This dissertation explores the process of creating and touring a community-sourced memorial quilt for the anti-mountaintop removal activist Julia “Judy” Bonds, who died in 2011. As a practice, the project positions memorialization as a possible framework for social movements to utilize when faced with loss that allows for actions that honor members of the movement while still engaging in consciousness raising and organizing efforts. From a theoretical standpoint, the practice of memorialization—especially when it is intentionally designed to align with the practices/legacy of the person(s) being remembered—is also considered through an object oriented ontology perspective, providing insight into the affective ways that a more personal/community base memorial can be considered as both a symbolic and real material representation of a person who has died.As a practice, the dissertation brings together work on object oriented ontology and travel as a way to highlight travel as a mobile object and performative practice, not just as a practice that allows for research to be presented, which can serve as a valuable site of knowledge generation and creation.Finally, this document is concerned with the materiality of textual representation, offering a series of experiments in performative writing to align with the larger goals of community organizing and environmental action, insisting that the documentation of our actions as well as the actions themselves can help to imagine new ways of being and knowing.

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Die Analyse vergleicht Installationen von Bruce Nauman und Olafur Eliasson ausgehend von der Fragestellung, wie sich die künstlerischen Performativitätsstrategien der 1960er/70er Jahren und die der zeitgenössischen Kunst in ihren Wirkungen und Effekten unterscheiden lassen. Dabei werden die Positionen der beiden Künstler als paradigmatisch für eine Ästhetik des Performativen angesehen. Neben dem Vergleich der Künstler steht die theoretische Auseinandersetzung mit der Diskursfigur der Performativität sowie deren methodischen Anwendbarkeit in der Kunstwissenschaft im Vordergrund. Während sich Installationen der 1960er/70er Jahre besonders durch die psycho-physische Einwirkung auf die Sinneswahrnehmung des Betrachters auszeichnen und durchaus Schockeffekte beim Betrachter hervorrufen, befasst sich die zeitgenössische Kunstpraxis vornehmlich mit visuellen und poetischen Effekten, die eine kontemplative Rezeptionshaltung des Betrachters einfordern. Bruce Nauman war es ein Anliegen, den tradierten Status des Kunstwerks als ein zu Betrachtendes, das sich durch Begriffe wie Form, Ursprung und Originalität fassen ließ, in Frage zu stellen und stattdessen eine reale leibliche Erfahrung für den Betrachter nachvollziehbar werden zu lassen. Künstlern wie Olafur Eliasson geht es in den künstlerischen Produktionen vor allem um die Wahrnehmung der Wahrnehmung sowie der Erzeugung von Präsenzeffekten. Mit dem Aufkommen solcher Verfahren wurde deutlich, dass performative Installationen nach anderen Beschreibungsformen verlangten und, dass diese durch eine Ästhetik des Performativen gefasst werden können. Wie genau vollzieht sich der Wandel von den performativen Strategien der 1960er/70er Jahre zu denen der zeitgenössischen Installationskünstlern? Verläuft dieser vom Schock zur Poesie? / This analysis compares installations by Bruce Nauman and Olafur Eliasson based on the following question: How can artistic performative strategies of the 1960s/70s and those of contemporary art be differentiated in their impact and effect. As part of the analysis, both artists’ positions are considered as being paradigmatic for an aesthetic of the performative. In addition to the comparison of the artists, we are confronted with the theoretical discussion about the discursive figure of performativity as well as its methodological applicability in the science of art. Installations of the 1960s/70s are mainly characterized by the psychological and physical impact on the viewer’s perception and their ability to evoke shock effects from the viewer. By contrast, contemporary art practice deals predominantly with visual and poetic effects, demanding a contemplative state of reception. It was one of Bruce Nauman’s intentions to question the traditional status of a work of art as an object that needs to be viewed and defined through concepts, such as form, origin and originality. Instead, he intended to allow the viewer to comprehend it as a real and physical experience. Artists such as Olafur Eliasson, on the other hand, aim in their artistic productions at producing effects of presence by perceiving the perception. Through the emergence of such procedures, it has become evident that performative installations require other forms of description and can be understood through an aesthetic of the performative. How exactly did performative strategies of the 1960s/70s change compared to works by contemporary installation artists? Did they in fact evolve from shock to poetry?

Cette thèse se compose de trois articles qui ensemble contribuent à améliorer la pertinence de l'audit et de la recherche en comptabilité, en s'appuyant sur le développement d'une nouvelle méthode d'expérimentation adaptée aux sciences de gestion. Dans un premier temps, elle souligne l'importance de deux questions de type "comment faire pour": "comment faire pour rendre l'utilisation du confort légitime dans l'audit des estimations?" et "comment faire pour optimiser la pertinence des résultats de la recherche comptable pour la pratique?". Puis, dans un second temps, elle développe l'expérimentation performative, une méthode qui permet aux sciences de gestion de répondre à des questions de ce type, et qu'elle applique aux deux questions précédentes. Malgré ses limites, cette recherche apporte des contributions et ouvre de nouvelles perspectives pour la pratique et la théorie dans trois champs différents. En audit, elle indique une nouvelle façon de penser l'auditabilité par-delà l'établissement d'une référence à des critères externes. Elle dote la recherche en comptabilité d'une méthode, détaillée étape par étape, qui permet de donner une validité expérimentale aux résultats théoriques. Pour la philosophie des sciences, elle offre des données nouvelles qui permettent de repenser les sciences de gestion. Enfin, il se peut que cette thèse indique un chemin praticable pour sortir de l'idée même de modernité. / This thesis is composed of three articles which together contribute to enhance the relevance of audit as well as of research in accounting, based on the development of a new method of experimentation adapted to the management sciences. First, it suggests the importance of two highly relevant "how to" questions: "how to make the use of comfort legitimate in the audit of estimates?" and "how to optimize the practical relevance of theoretically valid results in auditing research?". Then, it develops the performative experiment, a method which makes it possible for the management sciences to address "how to" questions, and applies this method to the two questions raised. In spite of limits, this research may contribute to, and open new perspectives for, practice and theory in three different fields. In audit, it indicates a new way to think of auditability, beyond reference to external benchmarks. In accounting research, it offers a step-by-step process to bestow experimental validity to theoretical results. In the science studies, it delivers fresh data and perspectives to rethink the management sciences. Eventually, this thesis might indicate a not too hurtful way out of the very idea of modernity.

Syftet med detta arbete är att undersöka interaktivt ljud ställt i relation till Augmented Reality. Vi vill undersöka begreppet genom ett fokus på ljud, och därigenom bredda uppfattningen om vad Augmented Reality potentiellt kan innebära. Vi har undersökt Sonification, Audio Spatial Awareness och Augmented Reality för att producera en gestaltning baserad på en kombination av dessa teoribildningar. Dels för att undersöka hur Sonification kan göra vissa aspekter av verkligheten tydligare för människor, samt för att använda denna information för att försöka påverka människors inställning till och uppfattning av varandra. Gestaltningens syfte är att undersöka hur mänskligt samspel kan påverkas genom ljud baserat på rumslig data, och är ett resultat av den forskning som lagt den teoretiska grunden och den primära metod som vi valt för att utveckla den genom. Performative Experience Design ämnas till att undersöka och främja interaktivitet utifrån ett performativt perspektiv, då den uppmanar till ett öppet och nyfiket förhållningssätt till mänskligt samspel. Resultat av detta är ett system med stor potential för vidareutveckling, men också en påbörjad diskussion om vad Augmented Reality kan innebära. / The purpose of this work is to investigate interactive sound in relation to Augmented Reality. We want to explore the concept by focusing on sound, thereby broadening the perception of what Augmented Reality potentially could mean. We have investigated Sonication, Audio Spatial Awareness and Augmented Reality to produce an artefact based on a combination of these theories. Our focus is to investigate how Sonification can make certain aspects of reality clearer to people, as well as to use this information to try to influence people's perception of each other. We aim to investigate how human interaction can be influenced by sound based on spatial data, and is directly influenced by the research which laid the theoretical foundation combined with the primary method we chose. Performative Experience Design aims to investigate and generate interaction based on a performance perspective, as it calls for an open and curious approach to human interaction. The result of this is a system with great potential for further development, but also a beginning to an initial discussion of what constitutes Augmented reality.

Abstract Mixed media, as artful assemblages of digital objects and physical artefacts, provide distinctive opportunities for experiential, presentational and representational interaction. In project-based learning of architecture design, participants staged spatial narratives with multiple projections, performed mixed objects and artefacts, and exploited bodily movements in mixed representations. These cases show how physical interfaces in mixed media acquire a spatial dimension, integrate physical artefacts and bodily movements and propose configurability as a central feature. A perspective based on anthropological concepts of performance makes it possible to address these aspects in a coherent way, pointing to sense experience, the individuality and collective emergence of expression and its diachronic and event-like character. From this perspective, interaction is part of expressive events aimed at generating new insights for participants (interchangeable performers and spectators) privileging sense experience. Events are the outcome of configurations of space, artefacts and digital media, and are characterised by a simultaneousness of doing and undergoing, of bodily presence and representation. More importantly, the performance perspective suggests a particular temporal view of interaction, based on the concept of event, addressing a neglected granularity of analysis between the moment-by-moment unfolding of interaction and the longer term co-evolution of technology and practice. Implications of interaction as performance contribute to a wider program of interaction design, thereby providing alternatives to established human-computer interaction tenets: the notion of event is an alternative to the notion of task; perception in Dewey's terms replaces recognition proposing expression as an alternative to accountability and usability. Implications include looking at how space can be configured and staged instead of measured or simulated, and how situations can be staged instead of sensed and recognised, privileging the sensing human over the sensing system.

In Sudan, 110 babies are abandoned in the streets of Khartoum every month. The majority of abandoned children are born out of wedlock. Young women with illegitimate pregnancies are often ostracized by their families and society, and the lack of emotional, financial and legal support has led many to take desperate measures, including the abandonment of their children. Relinquishing mothers exist like ghosts in Sudanese society. The only evidence of the mother’s experience is her anonymous, abandoned child. In order to understand and examine this phenomenon, I used ethnographic performance art informed by design research practice (Performative Research Design). I performed various acts of abandonment to examine the mechanism and psychology of the act of abandonment. I endeavored through concrete, lived experiences to better empathize with the relinquishing mother and create awareness of the wider psychological and social complexities of child abandonment.