Combining artistic practice with teaching is not unusual for teachers in the visual arts. A dual professional practice, which can be found throughout the field of art education with art teachers in all levels of education, requires a negotiation of roles and positions on a personal level and has impact on pedagogy. However, the binary opposition of artist versus teacher fails to comprise the diversity of practices where art making and teaching are combined. Not only does identification with artist or teacher vary, so does the extent to which the two disciplines are fused, to the point where it can be called a hybrid practice when the distinction between art and teaching is no longer relevant. The democratic nature of contemporary visual art making further problematises a singular model of artist teacher practice. In order to do justice to the personal strategies artist teachers employ in balancing their dual professional roles, this thesis proposes a multifaceted concept of artist teacher practice. In this thesis, the notion of hybridity and diversity in artist teacher practice and the implications for democratic models of teaching and learning is subject to both theoretical, empirical, and artistic inquiry. The employment of different lenses enables a multi-layered approach to a complex practice. By focusing on the knowledge incorporated in the practice of two Dutch artist teachers this thesis informs how artist teacher practice relates to models of democratic teaching and learning. The miniature dioramas visually explore my own perception of democratic learning spaces and add an extra auto-ethnographic layer of understanding to artist teacher pedagogy. Central in this thesis is the notion of a pedagogical thirdspace. A spatial representation of social realities helps to create a critical understanding of human life. A thirdspace is a place in the margins between reality and ideals (Soja, 1999). When binary models of understanding are exchanged for real-life knowledge of the pedagogical practice of artist teachers an ambiguous open space emerges, where there is room for experiential learning, uncertainty, risk-taking, care, equality, inclusion, tacit experience, sensitivity, play, flexibility, and conflict. The engaged pedagogy (hooks, 1994) of artist teachers emancipates learners because of the fact that the duality of the artist teacher invites learners to join in a democratic, living model of artistic practice.

In this dissertation, Claire Lauer proposes a spatial-metaphorical model for exploring and communicating the self in composition. She uses the concepts of Edward Soja's Thirdspace, Michel de Certeau's tactics, and Turkle and Papert's bricolage as lenses through which to analyze and understand the spatial-metaphorical self-constructions that students in her classes built in the virtual reality of the MOO. These lenses reveal a new kind of agency, one that finds power in complexity and refuses reduction. Through their sites, students show themselves to be comfortable with the unfamiliar and the ambiguous, but also able to adapt, change shape, and see the I as an all--as an infinite sum and ever-changing total. Lauer argues that offering students the opportunity to construct themselves spatially and metaphorically disrupts their assumptions about identity and provides them with new ways of expressing their postmodern subjectivities--of speaking to and about their ever-shifting proximities to the people and events in their lives.Lauer argues that recognizing the complexity of identity facilitates a recognition of the complexity of culture and communication, and shows how identity construction assignments can thus serve as models for larger knowledge exploration and construction. She concludes by arguing that the analysis and production of new media in the composition classroom is essential to the continued goal of composition instructors fostering critical engagement in the classroom. As an extension of identity investigation, such engagement should be a cornerstone of first-year composition and does not have to be at odds with the more practical work of preparing students for their academic careers. In fact, it facilitates the more practical work instructors do in composition because it allows students to see the constructed nature of all discourses and become aware of how we both compose and are composed by the texts we encounter.

After World War II, film audiences of American crime dramas, later termed film noirs, witnessed the relocation of several film narratives to settings outside of the traditional urban environment. These films began to defy the conventional notion that crime only exists in densely populated cities and began to incorporate alternative spaces, like suburban communities, small towns, and the open road, to tell their stories. This thesis examines how social and geographical spaces contribute to, rather than oppose, a noir sensibility by employing an intertextual analysis of three film noirs set in locations out of the city: Fallen Angel, The Stranger, and Gun Crazy. This project explores the possibility that noir cinema is not bound to a conventional urban environment, but that the ambiguous essence of film noir can also flourish in non-urban settings by preying on the fears and anxieties many Americans experienced after the end of the War.

This practicum project explores the intersection of sexual identity and contemporary workplace by means of a proposed gay coworking office in Winnipeg, Manitoba. As a result of increased closures of gay bars and other gay-identified places for developing community, there is a void in the gay community. Drawing from Edward Soja’s theory of thirdspace, this practicum proposes the creation of a new gay community by reimagining workspaces through the lens of gay identity and safe space. The intention of this proposal is to challenge traditional ways of thinking about the office as a predominantly heterosexual domain and to create safe work spaces that celebrate difference. The space focuses on supporting the social and collaborative aspects of coworking while interrogating space that is both work and home, between work and home and neither work or home with the objective of creating a new gay typology. / February 2017

By recontextualizing spatiality, it is arguable that the meaning of &lsquo / space&rsquo / as a term varies from the most local to the global geographies. &lsquo / Space&rsquo / as a term for this thesis does not only mean the architectural spaces, but also the social spaces. This thesis aims to define and investigate the dynamics of &lsquo / Thirdspace&rsquo / as a key term and to locate it in the specifities of urban within the area of resistance and transgression. &lsquo / Thirdspace&rsquo / is illustrated as a wider sphere of participation forpolitical resistance. As a space, it is the new meeting places for diverse oppositional practices, for multiple communities of resistance. It is a space that is both center and the margin, which enables the radical social action everywhere in the world, from local to the global. The theoretical framework for understanding the tools of our critical approach will be provided by a comprehensive literature about &lsquo / identity politics,&rsquo / which can be defined as the theoretical base of the concept of &lsquo / Thirdspace.&rsquo / After an extensive analysis about the dynamics of &lsquo / Thirdspace&rsquo / for political resistance, it is concerned to locate the concept of &lsquo / Thirdspace&rsquo / within the material world as a case study. The case study aims to exemplify firstly the &lsquo / Istiklal Street&rsquo / as &lsquo / Thirdspace&rsquo / , secondly political position of &lsquo / Saturday&rsquo / s Mothers&rsquo / as &lsquo / thirdspace of political choice&rsquo / , and lastly to demonstrate the reciprocal relations between them within the framework of the relationship between space and politics.

abstract: In this dissertation I present data gathered from an eleven-month qualitative research study with adolescents living and working on the streets of Lima, Peru. Through the pairing of photovoice with participant observations, this work incorporates distinctive methodological and theoretical viewpoints in order to complicate prevailing understandings of street life. In this dissertation, I examine the identities that children and adolescents on the street develop in context, and the ways in which photography can be a useful tool in understanding identity development among this population. Through a framework integrating theories of identity and identity performance with spatial theories, I outline how identity development among children and adolescents living on the street is directly connected to their relationships with the urban landscape and the outreach organizations that serve them. The organizations and institutions that surround children on the street shape who they are, how they are perceived by society, and how they view and understand themselves in context. It is through the interaction with aid organizations and the urban landscape that a street identity is learned and developed. Furthermore, as organizations, children and adolescents come together within the context of the city, a unique street space is created. I argue that identity and agency are directly tied to this space. I also present the street as a thirdspace of possibility, where children and adolescents are able to act out various aspects of the self that they would be unable to pursue otherwise. Weaved throughout this dissertation are non-traditional writing forms including narrative and critical personal narrative addressing my own experiences conducting this research, my impact on the research context, and how I understand the data gathered. / Dissertation/Thesis / Ph.D. Educational Leadership and Policy Studies 2011

Curating practices appear in various fields as a common practice of immaterial labour today. To ‘curate’ is an active verb that suggests ‘doing’ something. Seldom if ever are the implications of curating critically discussed outside the arts, and this provides a reason for this thesis to investigate. What does ‘to curate’ mean, imply or suggest in the urban context? How are urban curatorial practices legitimized and where can they contribute to urban planning? Embedded in contemporary urban challenges and the “state of crisis” often referred to, this paper introduces curating as an emerging cultural practice into this field. A vital part of the discussion this thesis opens up, is where art can become part of urban planning. Noting that the relationship between arts and urban environments is ambivalent, since the arts’ symbolic power is recognized within international competition of cities, it is about the margin between the field of arts and urban development. By laying a groundwork of contemporary curatorial understandings in the arts, the paper gives an overview on the existing notions and practices of ‘urban curation’ and highlights that there are strong positions but no existing definition as such. A look into urban planning theory pinpoints the crucial role of economic growth and its implications for the organization of urban developments under the term neoliberalism, a condition in which festivals replace urban development policies and culture becomes a structuring element. The occurrence of projects as organizational structure dominates and challenges long term developments. This constitutes the framework in which the paper discusses three very different project examples from Hamburg, Liverpool and Vienna for closer analysis. Between preservation and management, arranging and staging curating can alternatively be understood as an epistemology producing new knowledge. By cross-referencing between the arts, where the critical discussion on curating is held, and urban planning and architecture, where curatorial practice is applied, the paper suggests strengthening the critical discourse on the relevance and use of cultural practices in urban studies.

This essay discusses Herta Müller’s 2009 novella Der Mensch ist einGroßer Fasan auf der Welt from a spatial perspective. Drawing from ideas from theSpatial Turn in the 1980s, the main characters of the novella are analysed and it isfound that while the women of the story are able to adapt to the changing of space,the male protagonist is struggling being stuck in what can be seen as a state ofconstant crisis, which renders him practically useless in the society he lives in.Three main theories are used for the analysis; Michel Foucault’s concept ofheterotopias, Henri Lefebvre’s definitions of societal space and Edward Soja’sideas of Thirdspace. Further, Müller’s own ideas of Utopia are brought in forreflection.

This project aims to investigate the interplay and function of visual and textual narrative working together to expand and express a story. It will specifically analyze The Graveyard Book by Neil Gaiman and its accompanying illustrations provided by Chris Riddell and Dave McKean. This investigation will also consider the roles of identity and home, and their impact on the narrative as they are developed in the interplay of images and text. Analysis focused on the aspects of adaptation, form, and the concept of thirdspace will extend and expand the investigation further and raise questions for new research on the subject.

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