Master of Science / Department of Apparel, Textiles & Interior Design / Sherry J. Haar and Kim Y. Hiller Connell / Many sustainable garments do not engage wide consumer interest, nor encourage eco-conscious purchasing. Meanwhile, mass consumption of unsustainable apparel contributes to environmental degradation (Black, 2008). However, Niinimäki (2010) suggests that engaging consumers in the design and development of environmentally sustainable products could improve the balance between environmental design decisions and functional, aesthetic, and emotional qualities (Lamb & Kallal, 1992). The purpose of this practice-based research was to (a) identify apparel and environmental attitudes and consumption behaviors of potential sustainable apparel consumers, (b) generate sustainable apparel design concept and product through use of participatory design methods, and (c) evaluate the sustainable concept, product, and participatory method. The sample was 10 female university students. Consumer data was collected through an online (i.e., Facebook) ethnographic journal and a focus group. Qualitative analysis generated the target market’s ideal apparel characteristics and ideal environmental apparel characteristics as apparel offering versatility and variety within their existing wardrobes; elements expressive of their personalities; simple and inexpensive maintenance; organic or recycled materials; and less textile waste at disposal. Additionally, it was determined that participants had low knowledge of the apparel and textile industry and its environmental impacts. Generation of sustainable apparel design ideas occurred through a second focus group session. Analysis of the focus group data, combined with the researcher’s tacit sustainable design knowledge, formed a design concept. The sustainable apparel design concept was comprised of three characteristics reflective of the target market’s ideals and design suggestions: be versatile through various temperatures; social settings, and environments; be convertible through temporary adjustment of functional and aesthetic elements; and be transitional allowing the garment to be layered for greater thermal insulation without detracting from the appearance. The sustainable apparel concept was an application of the pre-existing Design for User Interaction sustainable design strategy. The sustainable apparel design concept was then applied to the development of an outerwear garment and presented to the participants and mentors as a digital sketch. The design addressed the sustainable design concept through interchangeable envelope-style shell layers, an insertable thermal core layer, a buttoned closure at the hemline and interconnecting button points for added alignment between layers. In this garment, the researcher applied participants’ suggestions of style, materials, and inclusion of a core layer. Following sketch refinement, two prototypes were constructed. The first prototype consisted of a thermal core layer and outer coat layer. Due to challenges with the core layer fabric, the second prototype modified the core layer material and style. Additionally, in the second prototype, the shell was made sleeveless and both a bolero style jacket and lining were added. Dual button fasteners connected the layers. During the third focus group session, participants evaluated the design concept, second garment prototype, and the participatory design methods. Participants noted that the design concept provided increased ease of garment care (which could potentially increase the frequency of laundering); ease of garment storage; and increased versatility through varying temperatures. Participants’ suggestions for prototype refinement included the addition of a kick-pleat and reduction of button alignment points. Prototype development did not reach completion during this study. Further refinement of the garment’s pattern and fit, implementation of additional aesthetic/functional elements, and development of an intuitive transformation are necessary. Participant evaluation of participatory methods and study participation were the use of Facebook as an online ethnographic journal made daily participation easy and allowed the researcher to become familiar with their personalities, increasing their comfort at later stages of the research. Participants felt their suggestions were evident in the garment prototype and were as involved as their experience and knowledge allowed. The only participant suggestion regarding the participatory design experience was the addition of updates informing participants of the design progress between focus group sessions. Though the concept and resulting garment were not exceedingly original, participants were pleased with the fruition of their ideas. This finding indicates a willingness to participate in the design process, supportive of participatory design.

This is a personal project about a fed-up woman who sits down on the chair by the pottery wheel simply because she craves it. It is about conducting a non-result oriented design process. A process where the making, the closeness between the mind and hand, is both the research and mediation. It is a project that acknowledges the potential care has in relation to design, while it's dealing with the controversial aspects of a woman caring for herself. The project is a snap, a feminist snap, represented and materialized through the objects of clay. Where a collapsed bowl, a blob, becomes a materialized revolt against everything women are being told to endure. It is a project that brings design and poetry together. Aiming to explore how objects can gain agency and be in dialogue with society. How objects can materialize both the resistance against, and the result of, the patriarchal structure.

Representations of the Muslim female are value-laden synonymous with the act of veiling. Veiling has fuelled political, social and academic debates and this study contributes to the ongoing conversation alongside identity formation by examining the image of the Muslim female on-screen with due attention given to animation. The image of the Muslim female is drawn in all manner of directions from that of the belly-dancing beauty to the 'bundle in black', the latter often associated with terrorism, particularly post-9/11 and the consequent 'War on Terror'. There is another direction that proffers an idealised image of the good daughter and dutiful wife against that of the fallen woman. Such constructs I argue tend to rid the Muslim female of her agency. This thesis examines how and why various representations of the Muslim female have emerged and changed, whilst some aspects have remained stagnant over time, thus positioning on-screen representations within their historical context. This project goes beyond traditional academic methods of critical analysis in reading film. The hybridised role of the researcher-animator enables the study to offer a critique from that of the spectator, but with the added vantage point of the practitioner with a set focus on the making of meaning. The interdisciplinary approach incorporates film theory, specifically concerned with representations of race and gender. The work of Muslim women scholar-activists informs and inspires the practice in reclaiming the status of the Muslim woman. Their approach lies within three trajectories being gender-sensitive interpretations of the Qur'an, a recovery of Muslim women's history and a critique on representation. Their approaches fall in line with the aim of this project to reclaim the historical Muslim figure on screen, whereas animation provides an attractive yet versatile mode of production to carry out such a task. Key questions guiding this study are: why are current and existing portrayals of the historical Muslim female problematic? Why do these portrayals need to be addressed? Why does an alternative approach to the portrayal of the historical Muslim female need to be devised and put into practice? Finding the answers to these questions lie in the undertaking of the practice. The practice consists of the first two episodes of a five-part series titled 'Sultan Razia', and as the title suggests the animation is based upon a legendary historical Muslim female figure, who ruled the Sultanate of Delhi between 634-638 Hejira/1236-1240CE. This project is an example of how theory works in practice and vice-versa to determine an audio-visual practice that re-inserts the Muslim female into a history that breaks away from established cliches.

The research presents a practice-based examination of the politics and poetics of the manifesto form, drawing on feminist theoretical writing and activism alongside contemporary iterations of socially engaged art. It offers feminist manifestos as a lens through which to reconsider the form and intentions of socially engaged art, which is reframed in the light of these feminist insights as social art practice (Ross, 2000). To draw feminism alongside social art practice the research occupies the metaphorical territory of the manifesto in order to open up a dialogue with, and directly experience, unfolding forms of social art practice. The thesis is structured in the form of an archive, consisting of three distinct but interrelated concepts – the manifesto, hospitality and archives. This structure sets out to highlight the relational and political nature of archives suggesting their potential to be reimagined as manifesto forms. In addition the structure reveals how both manifesto and archive function as explicit, politically radical forms of hospitality. These topics are discretely contained in physical form within three archival boxes, one for each concept, and in an online audio archive ‘giving voice’ to each of the concepts. Taken as a whole the thesis articulates a missing feminist history within current critical discourse around social art practice -­ despite the early presence of important feminist artists like Lacy and Ukeles. This research explores the implications of this absence, seeking to acknowledge the effects it could have not only on feminism as a political and intellectual practice but on the criticality and depth of social art practice. It is possible to encounter the archive as a cartography that can be laid out, navigated and read in any order. This movement between forms of knowledge mirrors the subjects it approaches which are conceived as interstitial forms, negotiating multiple perspectives to produce active subjectivity. Each section juxtaposes knowledge about practice, engaging with history to search for precedents, and knowledge with practice as a generative method, curating events and producing written contributions. Moving between these two methodologies the research sets out to find an appropriate voice to articulate the complexities of social art practice and its feminist histories.

This practice-based research articulates a performer's perspective from within the rapidly expanding field of mixed music, wherein traditional acoustic instruments are augmented by means of live electronics. Contemporary technology presents a panoply of sonic and interactive affordances and diverse avenues of potential for a contemporary practice of the clarinet. Pursuing a move from a technically passive approach towards self-efficient onstage operation, the author articulates a journey in which a hybridity of instrumental expertise and technical naivety develops into an embedded practice. A framework of humanising is proposed to establish codes of practice based on the embodied skill and priorities of the onstage performer. A pragmatic and personal approach emerges to managing issues of sound, control, and engagement, with an emphasis on viable rehearsal and performance practices that ultimately privilege an ongoing attention to liveness. The portfolio of sound recordings and the observances contained in this thesis contribute to a growing body of performer-led accounts in a rich environment for the development of new creative work and collaboration, and to facilitating access to interactive music for performers wishing to explore the field. A set of case studies trace three broad roles across a spectrum of creative agency within an interdisciplinary practice of the clarinet, situated at a nexus of diverse approaches - from performing composed works (executant interpreter) to non-idiomatic free improvisation (enactive composer), via hybrid works that blur these authorial distinctions (enabled interpreter). Negotiating multiple, interdependent influences within these respective performance ecologies, and moving over time from a status of technical novice towards one of proficiency and expertise (Dreyfus & Dreyfus 1980), a growing sense of embodied instrumentality is encountered (Nijs et al. 2009). The additional technology becomes less an extension of the instrument, rather the performer becomes present in a new holistic entity (Riva 2009; Rebelo 2006), with an attendant, ongoing re-evaluation of personal sound concept. Instrumental musicianship is reframed as inhabiting an assemblage of tools that filter and resonate physical energy, identity, and culture, and is directed towards an optimal performing presence.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-08-04T17:59:36Z No. of bitstreams: 1 Ane Isabel Linden_.pdf: 1570564 bytes, checksum: 7af9bb58b48447882be1c43267cc93a5 (MD5) / Made available in DSpace on 2016-08-04T17:59:36Z (GMT). No. of bitstreams: 1 Ane Isabel Linden_.pdf: 1570564 bytes, checksum: 7af9bb58b48447882be1c43267cc93a5 (MD5) Previous issue date: 2016-06-16 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A abordagem das Capacidades Dinâmicas (CD) tem recebido grande atenção por parte de pesquisadores, como importante referencial de estudos teóricos e empíricos no campo de estratégia. Porém, algumas lacunas persistem, em especial em relação à sua visibilidade e operacionalização no campo empírico. A tese tem o objetivo de analisar a contribuição da Aprendizagem Baseada em Práticas (ABP) para o desenvolvimento das Capacidades Dinâmicas, no contexto de organizações de saúde. Para atender este objetivo, foi realizado um estudo de caso do tipo interpretativo em uma organização hospitalar do sul do Brasil. A pesquisa foi desenvolvida em 3 fases, com uso de diferentes técnicas de coleta de dados: 19 entrevistas, 2 grupos focais, shadowing com 4 participantes e Análise conjunta com 15 participantes. A abordagem de pesquisa qualitativa exploratória (primeira fase) proporcionou a análise da multiplicidade de saberes das práticas cotidianas dos diferentes atores na organização. A partir deste primeiro olhar para dentro das práticas, foram identificados os microprocessos organizacionais. A abordagem analítica qualitativa (segunda fase) teve como propósito sintetizar e também validar os principais achados, os saberes das práticas (microprocessos), tendo em vista a importância que esses exercem no atendimento ao paciente e na visibilidade que essas práticas conferem em termos de percepção de valor do paciente em relação ao Hospital, portanto tratam-se de “práticas estratégicas”. O estudo de cunho descritivo (terceira fase), possibilitou a descrição do fenômeno dentro de um contexto realista, para que, a partir da análise dessas práticas estratégicas, os participantes pudessem identificar as capacidades e os eixos prioritários de investimento. No contexto desta tese, as CD de maior relevância identificadas foram a Qualidade e segurança, a Prevenção dos eventos adversos e a Aprendizagem, sendo que a dimensão Qualidade e segurança assumiu a maior importância para os participantes. Associados a essas CD, vários dos microprocessos elencados nas fases anteriores foram (re)alinhados, como sendo elementos fundamentais para desenvolver as capacidades. O argumento desta tese, apresentado em um framework, é que os microprocessos, oriundos dos saberes construídos nas práticas, são os elementos fundamentais para o desenvolvimento e visibilidade das CD e representam, portanto, um novo olhar que permite identificar e entender os microfundamentos. Contudo, essa construção das CD e seus respectivos microfundamentos somente fazem sentido em organizações cuja a prática tem caráter estratégico. Em outras palavras, quando o cliente percebe valor a partir das ações/rotinas oriundas dos saberes da prática, como é caso do segmento de serviços, e mais especificamente, para esse estudo, o setor de cirurgia do Hospital. / Dynamic capabilities (DC) approach has been receiving massive attention from researchers, addressing theoretical and empirical studies. Nevertheless, some gaps still remain, in particular concerning its visibility and operationalization in practical field. The dissertation has the purpose of analysing the contribution of Practice Based Learning to Dynamic Capabilities development, in the context of health care organizations. In order to achieve the objective, we develop an interpretative case study, which was held in a Brazilian hospital. We collected data by interviews, focus groups, shadowing and conjoint analysis. The study was operationalized in three stages, using different techniques: 19 interviews, 2 focus groups, shadowing with 4 participants and Conjoint analysis with 15 participants. An exploratory qualitative study was developed (first stage), in order to analyze the multiplicity of practices and learning processes; an analytical qualitative study (second stage), in order to summarize and to validate the main results; and, a descriptive quantitative study (third stage), in order to describe the phenomenon in a realistic context. To make the research possible we draw up the strategic practices and microprocesses, so that the managers would be allowed to identify prioritary capabilities and processes to invest. It was found that the more relevant dynamic capabilities, in the context of this dissertation, are Quality and safety, Adverse Events prevention and Learning. In addition, the dimension Quality and safety was found to be the most important for the participants. Some of the organizational microprocesses, that arose from research stages, were re-aligned as the main elements to develop DC. The core argument of this dissertation, portrayed in a framework, is that the microprocesses, originated from knowing in practice, are the main elements to the DC development and visibility and enact a new lens, that allow to understand the DC microfoundations. Howewer, this logic and arguments make sense only in organizations whose practices are strategic, and are perceived by the clients, and specifically, in the case of this study, in a hospital surgical unit.

In recent decades, psychologists have increasingly turned to evidence-based practice (EBP) to guide their treatments with clients. Practice-based evidence (PBE) is one type of EBP that allows clinicians to treat their clients in a flexible, but effective way. PBE treatments are those that use information gathered about the client through measures or questionnaires to inform the clinical decisions therapists make in the process of treating the client. The use of PBE in group psychotherapy is increasing and there are many measures that can potentially be used to aid therapists by gathering client information or feedback in the areas of group selection and pre-group preparation, group process, and outcome. The Group Readiness Questionnaire (GRQ) is one measure that was created in the hopes that it could predict which potential group members would benefit from group psychotherapy. The GRQ was designed to capture a potential group member's expectations regarding the helpfulness of group therapy as well as positive and negative interpersonal skills that could affect process within the group. This study tests the ability of the GRQ to predict group process and outcome during the early, middle, and late stages of group while taking the interdependent nature of group data into account through multilevel analysis in an effort to establish the GRQ as a PBE measure. Clients who perceived themselves to be less inclined to participate actively in group settings felt less connected to their groups during the early stage of group, but began to feel more bonded to other group members during the middle stage of group. Group members who had lower expectations of group therapy being helpful to them initially felt less connected to their groups and perceived more conflict within their groups after the initial session. Group members who were less prepared in general for group therapy tended to feel more gradually connected to other group members during the middle stage of group. Group members who were less inclined to participate and self-disclose in group settings as well as ones who were overall less prepared for group tended to be experiencing greater initial distress before starting group therapy. Implications of these findings as well as directions for future research are discussed.

Current research indicates that caregivers’ responses and behaviors to young children’s emotion expressions communicate messages that teach young children how to understand, label, recognize and modify emotions in socially desirable ways. This process is referred to as emotion socialization. This topic is timely and relevant due to the large numbers of preschoolers suspended and expelled each year. Several reports indicate that 50,000 preschoolers are suspended each year and that Black boys are the largest recipients of such actions. Black boys comprise just 19% of preschool enrollment, but 45% of male suspensions. In addition, data show that preschool teachers expect challenging behavior to occur when Black boys are present, even when there is no challenging behavior. Cultural and contextual factors such as child’s race/ethnicity, gender, social status, are also influencing differences in preschool caregiver’s emotion socialization behaviors. The goal of this study was to examine whether a professional development (PD) model increases preschool teachers’ use of emotionally supportive responses to the negative emotion expressions of Black boys with low levels of emotional competence. The research design was a multiple-baseline across participants design. There were two Black female teacher participants and the model was implemented in a private not-for profit center and a non-profit center that targeted families and children at risk for developmental delays. Findings from the study showed a functional relation between the PD model and teachers’ use of emotionally supportive instructional practices. Implications for the future include examining the impact of setting on implementation of the PD model using a multiple baseline across settings design and examining the role of teachers’ thoughts and beliefs about negative emotion expressions on teachers’ use of emotionally supportive responses.

Indelible is a performance and dance research project. It has three outcomes or pathways, presented on DVD-ROM, via which the user-reader can experience multi-modal perspectives on remembering, memory, and representing performative ideas, events and actions. These pathways are video, writing and interactive and together they form a series of hypermedia framings by which the corporeal and philosophical underpinnings of the project are witnessed. The research is considered to be practice-led, in which my practice consists of choreographic strategies, physical actions, media-based processes, and writing. Within these core representations I have sought to confront the methodological and theoretical paradox affecting performance makers electing to recontextualise their work beyond live processes. How might the absence or disappearance of a so-called live work contribute to the overall design and representational practices underlying the outcomes? In this sense the three pathways that comprise Indelible generate a complex network of artistic, scholarly, poetic, and methodological layerings or enfoldings in which the user-reader is presented with possibilities for experiencing the vital subjectivity and inherent fallibility of memory and remembering. (For complete abstract open dopcument)

O objetivo desse estudo é compreender os saberes desenvolvidos nas práticas de trabalho e nas trajetórias de vida de um grupo de cinegrafistas, de uma emissora de televisão. A compreensão dos saberes desenvolvidos nas práticas do grupo pesquisado segue a perspectiva da aprendizagem baseada em prática à luz do knowing in practice. Para atingir o objetivo, se fez necessária, além da análise dos saberes e das práticas predominantes no cotidiano desses profissionais, a identificação de como, no desenvolvimento dessas práticas, os processos de aprendizagem estão relacionados. O estudo foi desenvolvido através da metodologia de histórias de vida, com a utilização de vídeos de matérias trazidos pelos próprios entrevistados, para que eles pudessem contar sobre suas experiências a partir de uma situação real e visível. As entrevistas foram realizadas, entre os meses de julho e agosto de 2014, com cinco cinegrafistas da mesma emissora de televisão, com tempos de profissão distintos, para possibilitar a análise de diferentes percepções. Seus relatos possibilitaram constituir o percurso profissional de cada entrevistado, identificando os saberes relacionados. A descrição do cotidiano de trabalho dos cinegrafistas entrevistados permitiu entender a relação entre os saberes constituídos, durante a história de vida de cada um, e a (re)produção das práticas e seus processos de aprendizagem. Evidenciou-se que práticas, saberes e aprendizagem aparecem simultaneamente, durante as rotinas de trabalho, quer através de subsídio verbal dos colegas mais experientes, quer através da observação e da vivência em diferentes situações, durante as gravações. A pesquisa sinalizou não somente a complexidade dos saberes envolvidos, por estarem vinculados a uma série de práticas heterogêneas, mas também peculiaridades da profissão foram desvendadas durante as conversas. Para desempenhar suas tarefas, os cinegrafistas adaptam seus corpos e consideram os equipamentos de gravação como uma extensão deles. Adaptam também a mente, pois as gravações exigem grande esforço cognitivo, relacionado à capacidade de improviso, ao controle das emoções e ao julgamento do que é esperado pelo telespectador. O estudo mostrou a possibilidade de articulações teóricas entre os conceitos do knowing in practice e a realidade vivenciada pelos cinegrafistas. Indicou também que os saberes são complexos e estão vinculados a uma rede de práticas; são aprendidos e desenvolvidos por meio das relações e das experiências e impulsionados pelas necessidades de cada imagem a ser capturada. / The aim of this study is to understand the knowledge developed in working practices and life trajectories of a cameramen group of a television station. The understanding of the knowledge gained in the activities of the group observed is based on the learning perspective of practice-based in the light of knowing in practice. In order to achieve the goal, it was necessary to analyze the prevailing knowledge and practices in the daily life of these professionals. It was also necessary to identify how the learning processes are related in the development of these practices. The study was conducted by using the methodology of life stories, by using videos of materials brought by the interviewees so that they could narrate their experiences from a real and visible situation. The interviews were carried out between the months of july and august 2014, with five cameramen from the same television station with different career time to enable the analysis of different perspectives. Based on the reports, it was possible to structure the career path that each interviewee came from, identifying the related knowledge. The description of the daily work of the cameramen allowed the understanding of the relationship between the knowledge acquired during the life story of each one and the (re) production practices and their learning processes. It was possible to prove that practices, knowledge and learning appear simultaneously during their work routines, be it with the verbal assistance of more experienced colleagues or through the observation and experience in different situations during the recording. Not only did the research indicate the complexity of the knowledge involved, which is linked to a number of heterogeneous practices, but also showed the industry peculiarities which have been elucidated during the conversations undertaken. In order to perform their tasks, the filmmakers adapt their bodies, already considering the recording equipment as an extension of them, and also adapt their minds, because the recordings required a great cognitive effort, related to the ability to improvise, to control emotions and to judge what is expected by the viewer. The study indicated the possibility of theoretical links between the concepts of knowing in practice and the reality experienced by the cameramen. It also indicated that knowledge is complex and linked to a network of practices; it is also learned and developed through relationships and experiences, which are driven by the needs of each image to be captured.