Uppsatsen utgår från den aktuella trenden tidlöst mode som utspelar sig på sociala medier, framförallt på Tiktok och Youtube. Modeindustrin har på grund av sociala medier förändrats avsevärt och har möjliggjort en ökad hastighet för förändringar och spridning av mode. Att det tidlösa modet vuxit i popularitet och blivit en form av "trend" på sociala medier skapar en paradox. Detta eftersom tidlöst mode anses vara oberoende av tid och trender till skillnad från mode som definieras som något föränderligt och tidsenligt. Syftet med denna studie är därmed att undersöka fenomenet tidlöst mode på sociala medier. Detta för att få en förståelse av sociala medier-användares uppfattning om tidlöst mode på sociala medier, samt huruvida tidlöst mode är en tidsspecifik modetrend eller om det är en indikation på ett paradigmskifte som förkastar modets förändringar. Ett kvalitativt tillvägagångssätt användes för att genomföra denna studie i form av en nätnografisk metod. Vidare användes en kvalitativ innehållsanalys av rörliga bilder samt kommentarer som relaterar till tidlöst mode, insamlade från sociala medierapplikationerna, Tiktok och Youtube. Analysen är baserad på litteratur och teori om mode, trender, sociala medier, tidlöst mode, hållbarhet genom långvarighet samt konsumtion. Resultatet visar på att det tidlösa modet för med sig delade åsikter hos användarna. Tidlöst mode kan delvis anses vara en statusmarkör för exklusivitet, en personlig stil som ämnar att bäras för evigt, men också som ett koncept som uppmuntrar till konsumtion på grund av exponeringen på sociala medier. Slutsatsen är att många har en negativ attityd till dagens snabba och föränderliga modebransch och den tidlösa trenden reflekterar det. Till exempel genom att det blir allt viktigare att inte följa trender och att istället vara säker på sin egen stil för att på så sätt uppnå genuinitet. Däremot är det svårt att vara helt opåverkad av den ständiga förändringen av preferenser som sociala medier medför. Många kan ha en känsla av att man har hittat “rätt” med sin klädsel men samhället kommer att fortsätta att förändras vilket är varför många anser att ingenting kan vara tidlöst. Studien ämnar att bidra med utökad forskning om fenomenet tidlöst mode samt ökad kunskap om trender på sociala medier och hur användarna uppfattar och tolkar mode på olika sätt. Studien förväntas därmed vara användbar både för modevetenskap och för företag. / This study is based on the current trend of timeless fashion that takes place on social media, especially on Tiktok and Youtube. The fashion industry has changed significantly due to social media and has enabled an increased speed of change and diffusion of fashion. That timeless fashion has grown in popularity and has become a form of "trend" on social media creates a paradox. This is because timeless fashion is considered to be independent of time and trends, unlike fashion which is defined as something changeable and up-to-date. The purpose of this study is thus to investigate the phenomenon of timeless fashion on social media. This is to gain an understanding of social media users' perception of timeless fashion on social media, as well as whether timeless fashion is a time-specific fashion trend or whether it is an indication of a paradigm shift that rejects fashion's changes. A qualitative approach was used to conduct this study in the form of a netnographic method. Furthermore, this study uses a qualitative content analysis of moving images and comments relating to timeless fashion. The material was collected from the social media applications, Tiktok and Youtube. The analysis is based on literature and theory about fashion, trends, social media, timeless fashion, sustainability through longevity and consumption. The result shows that the timeless fashion brings divided opinions among users. Timeless fashion can be considered partly as a status marker of exclusivity, a personal style meant to be worn forever, but also as a concept that encourages consumption due to exposure on social media. The conclusion is that many people have a negative attitude towards today's fast changing fashion industry and the timeless trend reflects that. For example, by the fact that it is becoming increasingly important not to follow trends and instead to be sure of one's own style in order to achieve authenticity. However, it is difficult to be completely unaffected by the constant change in preferences that social media brings. Many may have the feeling that they have found the "right" style with their clothing, but society will continue to change, which is why many users believe that nothing can be timeless. The study intends to contribute with extended research on the phenomenon of timeless fashion as well as increased knowledge of trends on social media and how users perceive and interpret fashion in different ways. The study is thus expected to be useful both for fashion science and for companies.

This thesis aims to contribute towards a better understanding of the optimal coordination of monetary and fiscal policy in complex economic environments. We analyze the characteristics of optimal dynamics in an economy in which neither prices nor wages adjust instantaneously and lump-sum taxes are unavailable as a source of government finance. We then propose that monetary and fiscal policy should be coordinated to satisfy a pair of simple `specific targeting rules', a rule for inflation and a rule for the growth of real wages. We show that such simple rule-based conduct of policy can do remarkably well in replicating the dynamics of the economy under optimal policy following a given shock. We study optimal policy coordination in the context of an economy where a constant proportion of agents lacks access to the asset market. We find that the optimal economy moves along an analogue of a conventional inflation-output variance frontier in response to a government spending shock, as the population share of non-Ricardian agents rises. The optimal output response rises, while inflation volatility subsides. There is little evidence that increased government spending would crowd in private consumption in the optimal economy. We investigate the optimal properties and wider implications of a macroeconomic policy framework aimed at meeting an unconditional debt target. We show that the best stationary policy in terms of an unconditional welfare measure is characterized by highly persistent debt dynamics, less history-dependence in the conduct of policy, less reliance on debt finance and more short-term volatility following a government spending shock compared with the non-stationary `timelessly optimal' plan.

Syftet med studien har varit att ta reda på vad det är som gör att vissa möbler och inredning finns kvar hos oss en längre tid. Hur designers kan skapa hållbara produkter som konsumenten vill behålla en längre tid. På så sätt förlängs produktens livslängd och bidrar till en hållbarare konsumtion. Teorier som användes i studienvar produktanknytning, produktlivslängd, produktutbyte, tidlös design, estetik, form och material med ett övergripande fokus på hållbar design. Genom teorierna, möbelanalyser, intervjuer, skiss och prototypande har exempel för att designa för en lång livslängd tagits fram. Resultatet av studien blev en färgglad bordslampa med de typiska karaktäristiska dragen av en lampa och samtidigt en unik och skulptural design. / The purpose of the study has been to find out what it is that makes certain furniture and furnishings remain with us for a long time. How designers can create sustainable products that the consumer wants to keep for a longer period of time. In this way, the product lifetime is extended and contributes to more sustainable consumption. Theories used in the study have been product attachment, product longevity, product replacement, timeless design, aesthetics, form and materials with an overall focus on sustainable design. Through the theories and furniture analyzes, interviews, sketches and prototyping, examples for designing for an extended product life have been found. The result of the study was a colorfull table lamp with the typical characteristic features of a lamp and at the same time with a unique and sculptural design.

Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: Seeking to navigate and explore diasporic identity, as reflected in and by transatlantic narrative spaces, this thesis looks to three very different novels birthed out of the Atlantic context (at different points of the Atlantic triangle and at different moments in history): Our Sister Killjoy or Reflections from a Black-eyed Squint (1977) by Ama Ata Aidoo, The Chosen Place, The Timeless People (1969) by Paule Marshall and Crossing the River (1993) by Caryl Phillips. Recognising the weight of location – cultural, geographic, temporal – on the literary construction of transatlantic identity, this thesis traces the way in which Aidoo, Marshall and Phillips use fictional texts as tools for grappling with ideas of home and belonging in a world of displacement, fracture and (ex)change. Uncovering the impact of roots, as well as routes (rupta via) on the realisation of identity for the diasporic subject, this study reveals and wrestles with various narrative portrayals of the diasporic condition (a profoundly human condition). Our Sister Killjoy presents identity as inherently imbricated with nationalism and pan-Africanism, whereas The Chosen Place presents identity as tidalectic, caught in the interstices between western and African subjectivities. In Crossing the River on the other hand, diasporic identification is constructed as transnational, fractal and perpetually in-process. This study argues that in the absence of an established sense of terra firma the respective authors actively construct home through narrative, resulting in what Erica L. Johnson has described as terragraphica. In this way, each novel is perceived and explored as a particular terragraphica as well as a fictional lieux de mémoire (to borrow Pierre Nora’s conception of “sites of memory”). Using the memories of transatlantic characters as (broken) windows through which to view history, as well as filters through which the present can be understood (or refracted), are techniques that Aidoo, Marshall and Phillips employ (although, Aidoo’s use of memory is less obvious). Tapping into various sites of memory in the lives of the fictional characters, the novels themselves become mediums of remembering, not as a means of storing facts about the past, but for the ambivalent purpose of understanding the impact of the past on the present. / AFRIKAANSE OPSOMMING: In ’n poging om diasporiese identiteit te karteer en te ondersoek, betrek hierdie verhandeling drie uiteenlopende romans wat in die Atlantiese konteks, naamlik vanuit die verskillende hoeke van die Atlantiese driehoek en verskillende geskiedkundige Atlantiese momente, ontstaan het. Die drie romans sluit in: Our Sister Killjoy or Reflections from a Black-eyed Squint (1977) deur Ama Ata Aidoo, The Chosen Place, The Timeless People (1969) deur Paule Marshall en Crossing the River (1993) deur Caryl Phillips. Deur die belangrikheid van plek – kultureel, geografies en temporeel – in die literêre konstruksie van transatlantiese identiteit, te beklemtoon, spoor hierdie verhandeling die manier waarop Aidoo, Marshall en Phillips fiktiewe tekste aanwend na om sin te maak van idees oor tuiste en geborgenheid in ’n wêreld van verdringing, skeuring en (ver)wisseling. Deur die impak van die oorsprong op, asook die weg (rupta via) na, die verwesenliking van identiteit vir die diasporiese subjek te toon, onthul en worstel hierdie tesis met verskeie narratiewe uitbeeldings van die diasporiese toestand (’n toestand eie aan die mens). Our Sister Killjoy stel identiteit as inherent vermeng met nasionalisme en pan-Afrikanisme voor, terwyl The Chosen Place identiteit as tidalekties uitbeeld – vasgevang tussen westerse en Afrika-subjektiwiteite. In Crossing the River word diasporiese identifisering egter gekonstrueer as transnasionaal, fraktaal en ewigdurend in ’n proses van ontwikkeling. Hierdie studie voer verder aan dat die onderskeie skrywers tuiste aktief deur narratief konstrueer in die afwesigheid van ’n gevestigde bewustheid van terra firma, of onbekende land of plek. Die gevolg is ’n voortvloeiing van wat deur Erica L. Johnson beskryf word as terragraphica. Vervolgens word elk van die romans gesien en verken as ’n spesifieke terragraphica asook ’n fiktiewe lieux de mémoire, gegrond in Pierre Nora se konsep “sites of memory”. Die benutting van transatlantiese karakters se herhinneringe as (gebreekte) vensters waardeur die geskiedenis bespeur kan word en filters waardeur die hede verstaan (of gerefrakteer) kan word, is die tegnieke wat Aidoo, Marshall en Phillips aanwend – alhoewel Aidoo se gebruik van geheue minder ooglopend is. Deur verskeie terreine van geheue in die lewens van die fiktiewe karakters te betrek, ontwikkel die romans tot mediums van onthou, nie in die sin van feite van die verlede wat gestoor word nie, maar met die dubbelsinnige doel om die impak van die verlede op die hede te verstaan.

Cette thèse présente un projet de recherche création et recherche action dont l'axe principal questionne le rapport entre le processus identitaire à l’oeuvre dans l’activité picturale. Un lieu interne d'expérimentations devient « espace » de la peinture qui n’est plus abordée d’un point de vue esthétique mais sous un rapport subjectiviste et constructiviste. Ma démarche s’est construite autour d’un axe principal: le parallèle entre la construction de la peinture et la construction d'un individu devenu « sujet » créatif et autonome au sens où l'entend E. Kant. Ce rapport entre la pratique artistique et le processus d'individuation (tel que l'a défini C-G Jung) aboutit au paradoxe d’une « éthique de la relation » fondée sur un travail sur soi que j’ai approfondie pour proposer une théorie et une méthode pédagogique d’accompagnement en peinture. Accessible à tous, cette méthode accompagne des personnes en situation de handicap mental, de maladie psychique ou d’autisme, mais notre thèse engage une réflexion plus globale sur la peinture vécue par le corps « musical » comme vecteur de structure identitaire. Une nouvelle architecture de la peinture faite de « boues », de « dépôts », propose, comme appui à cette lecture musicale, des métaphores de renouvellement. Une théorie du rater se fait ici vecteur pédagogique. Elle se présente sous forme de jeux contre les principaux blocages privilégiant l’« imagination motrice » induite par la couleur et par la forme tant chez l’accompagnant que chez l’accompagné. Nous proposons un espace en peinture mutuellement constructeur permettant de sortir de la fermeture psychique et sociale parfois contrainte, pour s'ouvrir au monde et se transformer. / This thesis presents an action creation research project whose main axis analyses the relationship to the identity process at work in the pictorial activity. An internal locus of experimentation becomes a painting “space“which is no longer approached from an aesthetic point of view but more from a subjectivist and constructivist one. My approach is built around a main axis: the parallel between the construction of the painting and the construction of an individual become creative autonomous "subject" as E.Kant understands it. This relationship between artistic practice and the process of individuation (as defined by CG Jung) leads to the paradox of an "ethics of the relationship" based on self study that I have developed more thoroughly to provide both a theoretical framework and a teaching method in accompanying painting. Accessible to all, this method accompanies people with mental disability, mental illness or autism but our thesis undertakes a more comprehensive reflection on painting as embodied in a musical body as a vector of identity. A new architecture of painting as made up of "sludge", "deposits" supports this musical reading with metaphors of renewal. A theory of miss is seen here as an educational vector. It comes in the form of games against major obstacles favoring the “motor imagination” induced by shape and color both in the one that is accompanying and the one accompanied. We offer a mutually constructive painting space as a way out of psychological, sometimes social closure and stress, to open up to the world and transform ourselves.

Philophonetics-Counselling is a specific form of a bodily-oriented expressive therapeutic approach, defined for the purposes of this study as an approach that uses the non-verbal bodily modalities of movement, gesture, visualisation, and sound, as well as forms of artistic expression, as elements of a process, which furthers the physical and psychic integration of an individual. In view of the recent rise in bodily-oriented therapeutic processes, this study intends to describe and explore the role of especially bodily representation, but also mental representation in the phenomenon of the transformation and representation of sensory-emotional experience in the developing psyche. This is achieved by exploring the essence of described ‘lived experience’ of Philophonetics-Counselling, which is a means not only to elicit this phenomenon of transformation, but also to gain access particularly to bodily representation and bodily knowing. This exploration is guided primarily by a dialogue with object relations theory, exploring conceptualisations provided by Bollas, Ogden, Winnicott, Bion, and Klein. This dialogue is also, however, informed by contemporary bodily-oriented theorists, including Merleau-Ponty, Gendlin, and Shapiro. . The essence of this experience is explicated from qualitative material according to the Duquesne Phenomenological Research Method, which requires of the researcher to allow the inherent constituents and dynamic process to emerge such that the phenomenon can present itself to his/her awareness as it is in itself. Following this, by engaging with psychological theory in an attempt to understand this explicated structure, specific attention is given to the manner in which bodily representation and bodily knowing, particularly as applied or encouraged in therapeutic process, is intimately involved with thetransformation and representation of sensory-emotional experience. This research process reveals a means to rework and explore perhaps more directly the representations of self and other. Furthermore, through the open-ended and playful engagement with both the theory and the material, this descriptive-dialogical study concludes with the notion that although linked to the phenomenon of transformation and representation, consciousness, understood in terms of psychic truth, seems to extend beyond the seemingly differing mentalities of both mind and body, as perhaps dwelling in (the) neither flesh nor fleshless… / Dissertation (MA (Counselling Psychology))--University of Pretoria, 2005. / Psychology / unrestricted

The main aim of the diploma thesis was to design a building that meets the requirements provided by the announcer and at the same time has a positive impact on the area in both closer and larger context. This may include increasing the number of ecclesiastical buildings, improving the quality of local architecture, expanding the range of social and leisure activities, and cultivating terrain and greenery. All of above on the basis of the analysis of the locality in its context and further coherences (cultural, historical). The object is not only to provide background to enlisted activities, but also to serve as a representative building attracting new visitors. It is an active space connecting the urban population with culture, nature and above all God - with the help of its location on a visible, attractive place with good access. It will be a dominant building expressing its purpose, related to its surroundings and functionally cooperating with the cultural and social happening in Líšeň with a transition to a city-scale dimension.

The existing world is becoming more disrupted and is falling apart. For its resurrection and restoration, a new way of thinking is necessary. This new type of thinking is needed to be able to open up its mind and to think about the process of thinking itself; it must understand what is happening in other systems, where processes seem to be taking place by themselves without any other visible interference. First Chaos is the title for an intermedia installation which contains 90 black and white photographs, both digital and analogue, all of which were taken between the years 2008 and 2012. Together, the photographs create one coherent piece – a kind of sculpture. They can evoke a "still film" with a non-linear, cyclical storyline, whilst the images can simultaneously function individually, without any connection to other photographs.

The purpose of this qualitative research study, which utilizes a phenomenological inquiry method, is to inquire into the awareness of what it means to be a whole teacher from the perspective of the philosophy of Jiddu Krishnamurti, a philosopher/spiritual teacher. Four participants (teachers) were interviewed from the Oak Grove School, an alternative, holistic school founded by Krishnamurti in 1974. This inquiry probed into teachers’ thinking, teachers’ lives, teachers’ inner lives, teachers’ contemplative practices, teachers’ calling/vocation and teachers’ pedagogy. The findings of this inquiry reveal the awareness that exists among the participants with regards to their understanding of Krishnamurti’s educational philosophy and the way in which this philosophy has shaped their lives and the lives of their students (both implicit- ly and explicitly) The findings from this research further show that Krishnamurti’s philosophy has certainly had an impact on the participants’ wholeness. Krishnamurti was never interested in imposing his philosophy on the teachers to think in a narrow groove. Rather, he challenged them to arrive at wholeness or a holistic approach towards living by their own volition, by putting aside all philosophy, including his own. This research points towards the possible ways in which wholeness can be developed using: Innate wisdom (teachers’ inner life, teachers’ calling); wisdom gained through experiencing life (teachers’ life, teachers’ thinking); wisdom gained through their teaching experience (teachers’ pedagogy) and wisdom gained through practices that bring harmony to the mind, body and spirit (teachers’ contemplative approaches). An experiential model titled, The Flower Model: An Experiential Metaphor – which integrates the three stages of awareness – was developed using Krishnamurti’s approach towards wholeness. This model can be used to guide teachers with their respective psychological conditionings that reside or exist in their thinking, lives, inner lives, contemplative practices, vocation and pedagogy/curriculum design.

The purpose of this qualitative research study, which utilizes a phenomenological inquiry method, is to inquire into the awareness of what it means to be a whole teacher from the perspective of the philosophy of Jiddu Krishnamurti, a philosopher/spiritual teacher. Four participants (teachers) were interviewed from the Oak Grove School, an alternative, holistic school founded by Krishnamurti in 1974. This inquiry probed into teachers’ thinking, teachers’ lives, teachers’ inner lives, teachers’ contemplative practices, teachers’ calling/vocation and teachers’ pedagogy. The findings of this inquiry reveal the awareness that exists among the participants with regards to their understanding of Krishnamurti’s educational philosophy and the way in which this philosophy has shaped their lives and the lives of their students (both implicit- ly and explicitly) The findings from this research further show that Krishnamurti’s philosophy has certainly had an impact on the participants’ wholeness. Krishnamurti was never interested in imposing his philosophy on the teachers to think in a narrow groove. Rather, he challenged them to arrive at wholeness or a holistic approach towards living by their own volition, by putting aside all philosophy, including his own. This research points towards the possible ways in which wholeness can be developed using: Innate wisdom (teachers’ inner life, teachers’ calling); wisdom gained through experiencing life (teachers’ life, teachers’ thinking); wisdom gained through their teaching experience (teachers’ pedagogy) and wisdom gained through practices that bring harmony to the mind, body and spirit (teachers’ contemplative approaches). An experiential model titled, The Flower Model: An Experiential Metaphor – which integrates the three stages of awareness – was developed using Krishnamurti’s approach towards wholeness. This model can be used to guide teachers with their respective psychological conditionings that reside or exist in their thinking, lives, inner lives, contemplative practices, vocation and pedagogy/curriculum design.