My Master of Fine Art research explores the fracturing and fermentation that occurs when two cultural identities first collide, then begin to merge, one traditionally steeped in collective thinking and community – Korea, and the other with a focus on the individual and autonomy – Canada. I was trained as an artist in South Korea and learned from masters who had decades of experience in the field of traditional ceramics. Until I moved to Canada, my work focused on Korean traditional ceramics and its history. However, my desire to be recognized as an individual artist instead of another anonymous traditional ceramic artist has grown tremendously since I restarted my journey as a ceramic artist here in Canada. After practicing in the ceramics field in North America for two years, I am starting to understand what the differences are between Korea, where I received my initial education, and Canada, my adopted culture. The struggles I have experienced as an artist from outside of this new culture made me think about myself as an individual. I am now starting to discover my own unique voice in my work with clay. / October 2016

Estamos vivendo um momento que exige profundas mudanças, políticas, éticas, sociais, institucionais e educacionais. Mais do que nunca uma inquietação nos vem a mente: a importância do ato de ler! O que nos preocupa é o ato de ler não apenas aquilo que os símbolos traduzem, mas a carga cultural que há por trás deles, as entrelinhas daquilo que é decodificado em palavras, ler também o mundo que nos cerca e ter consciência da cultura em que estamos embebidos. Pensar essa leitura e os modos de chegar a ela, não é apenas um problema disciplinar de língua portuguesa, extravasando as fronteiras disciplinares e tornando-se uma preocupação de todo educador. Sob esse prisma, onde é que a física entra? Ora, não faz a física parte desta cultura? O modo com que a física olha para a natureza não nos ajudaria também a ler o mundo, a formular questões sobre nosso entorno? Acreditando honestamente que sim, somos levados a formular mais algumas questões: em que o ensino de física pode colaborar na formação de leitores mais críticos? E a leitura, pode colaborar com o ensino de física? Afinal, na ponte entre ciência e arte, em que um mundo pode colaborar com o outro? \"Ler palavras, conceitos e o mundo: o desafio de entrelaçar duas culturas em um convite à Física\" é a nossa tentativa de usar a arte como um convite à participação nas aulas de física, e a física como convite ao enriquecimento da linguagem artística. / We are living in a moment that requires profound changes, political, ethical, social, institutional and educational. More than ever a concern in coming to mind: the importance of the act of reading! What worries us is the act of reading not only what the symbols mean, but the cultural burden that\'s behind them, the lines of what is decoded into words, read also the world around us and be aware of the culture in which we are soaked. Think of this reading and ways to reach it, is not only a disciplinary problem of Portuguese, pumping, disciplinary boundaries and became a concern of every educator. In this light, where physics comes? Well, does the physical part of this culture? How the physics looks to nature doesn\'t help us also to read the world, to formulate questions on our surroundings? Honestly believing that yes, we have to formulate some more issues: the teaching of physics can collaborate in training readers more critical? And reading, you can collaborate with the teaching of physics? After all, the bridge between science and art, in that a world can collaborate with each other? \"Reading words, concepts and the world: the challenge of interlace two cultures in an invitation to physics\" is our attempt to use art as an invitation to participation in lessons in physics and physics as invitation to the enrichment of language arts.

Estamos vivendo um momento que exige profundas mudanças, políticas, éticas, sociais, institucionais e educacionais. Mais do que nunca uma inquietação nos vem a mente: a importância do ato de ler! O que nos preocupa é o ato de ler não apenas aquilo que os símbolos traduzem, mas a carga cultural que há por trás deles, as entrelinhas daquilo que é decodificado em palavras, ler também o mundo que nos cerca e ter consciência da cultura em que estamos embebidos. Pensar essa leitura e os modos de chegar a ela, não é apenas um problema disciplinar de língua portuguesa, extravasando as fronteiras disciplinares e tornando-se uma preocupação de todo educador. Sob esse prisma, onde é que a física entra? Ora, não faz a física parte desta cultura? O modo com que a física olha para a natureza não nos ajudaria também a ler o mundo, a formular questões sobre nosso entorno? Acreditando honestamente que sim, somos levados a formular mais algumas questões: em que o ensino de física pode colaborar na formação de leitores mais críticos? E a leitura, pode colaborar com o ensino de física? Afinal, na ponte entre ciência e arte, em que um mundo pode colaborar com o outro? \"Ler palavras, conceitos e o mundo: o desafio de entrelaçar duas culturas em um convite à Física\" é a nossa tentativa de usar a arte como um convite à participação nas aulas de física, e a física como convite ao enriquecimento da linguagem artística. / We are living in a moment that requires profound changes, political, ethical, social, institutional and educational. More than ever a concern in coming to mind: the importance of the act of reading! What worries us is the act of reading not only what the symbols mean, but the cultural burden that\'s behind them, the lines of what is decoded into words, read also the world around us and be aware of the culture in which we are soaked. Think of this reading and ways to reach it, is not only a disciplinary problem of Portuguese, pumping, disciplinary boundaries and became a concern of every educator. In this light, where physics comes? Well, does the physical part of this culture? How the physics looks to nature doesn\'t help us also to read the world, to formulate questions on our surroundings? Honestly believing that yes, we have to formulate some more issues: the teaching of physics can collaborate in training readers more critical? And reading, you can collaborate with the teaching of physics? After all, the bridge between science and art, in that a world can collaborate with each other? \"Reading words, concepts and the world: the challenge of interlace two cultures in an invitation to physics\" is our attempt to use art as an invitation to participation in lessons in physics and physics as invitation to the enrichment of language arts.

This study aims to describe and analyze how the development of technology and social change came to influence the Faculty of Science and Technology which during the fall of 2000 launched two new master programs in engineering. These programs were of a new kind where elements which traditionally had not been a big part of such educations made up a uniquely large part of the content. The ambition is to show how and why these elements came to be increasingly sought, and what they consisted of. To do this a study of meeting protocols from the elementary education committee from the years before the programs started was made. In these protocols the goal was to, from a perspective of technological development and social change, analyze how the contents of these programs were discussed. This was also connected to a perspective of education and learning – what should be taught during education and why?

In my master's project, "Knots of Narratives," I aim to investigate and explore my professional identity and how I position myself within the diverse world of design practices and contexts. Identity is multifaceted, and through this project, I seek to understand and articulate the various elements that contribute to my unique perspective as a designer. Our identity consists of many different components, and I've explored mine through my cultural backgrounds in Gambia and Sweden. I believe valuable knowledge is embedded in us, often subconscious and tacit, influencing our everyday practice. In this project, I sought to unpack and understand these sources within my history. By delving into historical creation methods in Sweden and Gambia, I drew inspiration from the practitioners and their valuable mindsets, recognizing the parallels between historical methods and contemporary sustainable design practices. The project culminated in a bench designed for two people, a conversational piece inspired by Swedish allmoge culture, incorporating attributes significant to Sweden and Dalarna, where I grew up. Gambia is represented in a cushion inspired by various handcraft methods, reflecting time-intensive processes that hold significant cultural value and tell a story. My cushion narrates my experience of having two cultures, the strength in that, and the feeling of not being entirely rooted in either. Together, the bench and cushion symbolize the collaboration and complementarity of my two cultures. This is my interpretation of my cultural heritage, which is crucial to remember.

Since its publication and first performance, Edward Albee’s Who’s Afraid of Virginia Woolf?, has often been interpreted with regard to the theme of truth and illusion. A less studied, but nonetheless important, aspect of the drama concerns its relation to C. P. Snow’s concept of the two cultures. In this essay, I argue for the convergence of these two discussions, resulting in an epistemological understanding of Albee. From this mode of interpretation, not only is a rejection of the two cultures noticed, but also a dramatic movement towards a third culture. Thus, Who’s Afraid of Virginia Woolf? is treated as an epistemological drama of ideas.

The aim of this thesis is to arrive at a characterisation of twentieth century poetry and science by means of a detailed study of the work of four poets who engaged extensively with science and whose writing lives spanned the greater part of the period. The study of science in the work of the four chosen poets, Hugh MacDiarmid (1892 – 1978), Judith Wright (1915 – 2000), Edwin Morgan (1920 – 2010), and Miroslav Holub (1923 – 1998), is preceded by a literature survey and an initial theoretical chapter. This initial part of the thesis outlines the interdisciplinary history of the academic subject of poetry and science, addressing, amongst other things, the challenges presented by the episodes known as the ‘two cultures' and the ‘science wars'. Seeking to offer a perspective on poetry and science more aligned to scientific materialism than is typical in the interdiscipline, a systemic challenge to Thomas Kuhn's The Structure of Scientific Revolutions (1962) is put forward in the first chapter. Additionally, the founding work of poetry and science, I. A. Richards's Science and Poetry (1926), is assessed both in the context in which it was written, and from a contemporary viewpoint; and, as one way to understand science in poetry, a theory of the creative misreading of science is developed, loosely based on Harold Bloom's The Anxiety of Influence (1973). The detailed study of science in poetry commences in Chapter II with Hugh MacDiarmid's late work in English, dating from his period on the Shetland Island of Whalsay (1933 – 1941). The thesis in this chapter is that this work can be seen as a radical integration of poetry and science; this concept is considered in a variety of ways including through a computational model, originally suggested by Robert Crawford. The Australian poet Judith Wright, the subject of Chapter III, is less well known to poetry and science, but a detailed engagement with physics can be identified, including her use of four-dimensional imagery, which has considerable support from background evidence. Biology in her poetry is also studied in the light of recent work by John Holmes. In Chapter IV, science in the poetry of Edwin Morgan is discussed in terms of its origin and development, from the perspective of the mythologised science in his science fiction poetry, and from the ‘hard' technological perspective of his computer poems. Morgan's work is cast in relief by readings which are against the grain of some but not all of his published comments. The thesis rounds on its theme of materialism with the fifth and final chapter which studies the work of Miroslav Holub, a poet and practising scientist in communist-era Prague. Holub's work, it is argued, represents a rare and important literary expression of scientific materialism. The focus on materialism in the thesis is not mechanistic, nor exclusive of the domain of the imagination; instead it frames the contrast between the original science and the transformed poetic version. The thesis is drawn together in a short conclusion.