Dissertations / Theses on the topic 'PERFORMATIVE RESEARC'

Questo lavoro di ricerca nasce dal desiderio di indagare il potenziale riflessivo, euristico e trasformativo della dimensione embodied nei processi di insegnamento/apprendimento. Per farlo ha interrogato un gruppo di insegnanti della scuola primaria, coinvolgendole in una ricerca partecipativa sulle proprie pratiche di insegnamento e sul loro modo unico di incarnarle (embodied teaching), a partire da un’attivazione corporea specifica (Anatomia Esperienziale). La mia domanda di ricerca si è orientata in due direzioni. Ad un livello metodologico potrebbe essere formulata nel seguente modo: come interrogare l’embodied teaching (Bresler, 2014) di professionisti della scuola, cioè il modo incarnato di interpretare il processo di insegnamento/apprendimento? Ad un livello tematico, invece, l’interrogativo di fondo potrebbe essere così posto: cosa emerge quando si va ad attivare un processo di riflessione sulla pratica professionale di un gruppo di insegnanti della scuola primaria a partire da un’interrogazione che passa dalla percezione e dall’attivazione corporea? Collocandomi nell’area di ricerca della Pedagogia del corpo (Gamelli, 2011), il macro-paradigma dell’embodiment ha rappresentato un riferimento epistemologico importante per il lavoro. In esso ho trovato un fertile incontro di studi, ricerche e pratiche provenienti da ambiti molto distanti, tra cui le scienze cognitive (l’enactive embodiment di Varela, Thompson, Rosch, 1991), l’ambito performativo (Farnell, 1995; Sheets-Johnstone, 1999; Bresler, 2014) e quello più legato all’educazione (Gamelli, 2011; Rossi, 2017). È precisamente all’incontro di queste tre aree che si colloca la prospettiva di ricerca del presente lavoro. La parte empirica della ricerca si è svolta con un gruppo di sette insegnanti di una scuola primaria milanese, su adesione volontaria, in sei incontri di tre ore circa ciascuno. Il setting di ricerca è stato strutturato in modo che ci fosse una stratificazione dell’esperienza corporea proposta affinchè ognuna delle partecipanti potesse contattare il proprio embodied teaching nel rispetto del proprio stile personale e corporeo di insegnamento. La metodologia della “co-operative-inquiry” (Heron, Reason, 1997) e la successiva interpretazione di Formenti nella “spirale della conoscenza” (Formenti, 2009), oltre che fornirmi un riferimento epistemologico in termini di dimensione partecipata della conoscenza, mi hanno fornito riferimenti importanti per disegnare la struttura interna degli incontri in modo coerente con i miei presupposti teorici. L’anatomia esperienziale del Body-Mind Centering è stata la pratica somatica che ho utilizzato per la ricerca empirica. Tutti gli incontri sono stati audioregistrati e trascritti. Dopo una prima analisi tematica attraverso NVivo, è maturata la decisione di andare verso una svolta più performativa della mia ricerca. Questo cambio di prospettiva ha richiesto l’ideazione e la costruzione di un dettagliato – e inedito – metodo di ricerca embodied. Si tratta di uno dei passaggi più originali della mia ricerca di dottorato, che ha visto l’inizio di un lavoro di analisi corporea e performativa dei dati attraverso segmenti audio e testuali che ho selezionato dalle trascrizioni e dai materiali audio degli incontri con le insegnanti. Questa analisi performativa, documentata in 160 riprese video, si è poi direzionata verso la creazione di una video-performance utilizzata come restituzione alle insegnanti rilanciandolo e aprendo nuovi interrogativi e così possibili sviluppi per ricerche future legate alla dimensione corporea della professione insegnante.
This thesis is deeply connected with the will of investigating the reflective, heuristic and transformative potential of the embodied dimension in teaching and learning processes. For this purpose, I engaged a group of Primary School teachers in a participatory research focused on their personal way of embodying teaching practices (embodied teaching) starting from a specific body activation (Experiential Anatomy). My research question was twofold. At a methodological level I was interested in interrogating the embodied teaching (Bresler 2014) of school professionals, namely their own way of performing the teaching/learning processes. At a thematic level the question was: what does it happen when a researcher activate a reflective process on professional practices of a group of primary school teachers through body activations? My main theoretical frame is represented by Embodied Pedagogy (Gamelli, 2011) and my fundamental epistemological reference is the so-called “embodiment paradigm”. This paradigm is a generative common ground for studies and practices connected to heterogeneous fields as cognitive sciences (Varela, Thompson and Rosch, 1991), performative disciplines (Farnell, 1995; Sheets-Johnstone, 1999; Bresler, 2014) and education (Gamelli, 2011; Rossi, 2017). My research perspective lies exactly at the crossroads of these three main areas. The empirical part of my research took place in a Primary School of Milan. I addressed a group of teachers with a research proposal structured on six meetings of three hours each. The research setting was designed in a way that allowed a multi-layered experience of the body activations in order to let each participant explore her own embodied teaching, namely her own personal way of performing teaching. The “co-operative inquiry” theorized by Heron and Reason (1997) and Formenti’s “Spyral of knowledge” (2009) were the two main epistemological pivots in reflecting on the research objectives, as they both advance the idea of research as a co-construction of participatory knowledge. They were also fundamental in order to design the internal structure of each meeting consistently with my theoretical assumptions. Experiental Anatomy of Body-Mind Centering was the somatic practice that I used for the empirical part. Each meeting was audio-recorded and transcribed. After a first thematic analysis with Nvivo I decided to turn my research in a performative direction. This change of perspective required the creation of a detailed embodied research method. This is the most original part of my thesis that consisted in a performative analysis of a selection of collected data (originated in the six meetings with the participants) in the form of textual and audio excerpts. This performative analysis, documented by 160 video shootings, ended in the creation of a video-performance that was used as a starting point of the final meeting with research participants. The use of this aestethic and performative object in the research setting revealed itself as a powerful tool in order to trigger an high level of participation in the group. The final meeting, in fact, was a fundamental moment as the participants’ reflections transformed “my” performative composition in a shared knowledge connected with all the research process. The results were very interesting both in terms of new questions raised by the teachers and of future research possibilities in the direction of embodied teaching.

Remote work involves working for an organisation from a location other than a central office, usually from home. In this thesis I aim to reorient the conversation on remote work away from evaluation and towards understanding. I do this by asking the question “how does remote working work?” I present four cases that relate to empirical material generated through interviews with remote workers and managers. I problematize dominant assumptions about remote work, in both theory and practice, through an abductive research process that leads to the development of two conceptual models. There are five main findings presented in the thesis. The first is that the notion of remoteness can be revealingly understood as an experience that is linked to the fear of exclusion. The second finding is that the practice termed “flexible working” can either support or undermine remote working arrangements, depending on how the office is seen and enacted according to differing ontological positions. Thirdly, I find that the assumption that remote workers are “absent” from the office neglects the ways in which remote workers are able to skilfully become present with others by using basic ICTs to become present with one another, a process that I illustrate in a model of presencing work. In the final case I present the finding that remote workers engage in layered mediated communication in order to construct social and professional belonging amongst the work group, through what I term the work of belonging. The fifth and overarching finding is that our current way of understanding remote work is shaped by how we think about and enact the category of the office in practice. I argue that when the office is thought of solely as either a physical place, or alternately as a virtual space that is purely technological, we miss the layered, distributed way in which most organisational work is performed today. I therefore present as a key contribution and thus alternative starting point for future research the notion of the performative office. I draw here on a performative ontology to propose an understanding of the office as a sociomaterial configuration that is enacted through ongoing and distributed work. In such a conceptualisation, the need for the qualifier of remote is removed, as all workers have the potential to be equally involved in the enactment of the office.

This dissertation identifies a strategy of artistic inquiry within contemporary media art practice. It applies the concept of material that acts in an agential capacity, generating performative acts. It argues that the emergent potentials of materials and their interconnectedness with the compositional layers of a work can facilitate modes of effecting change in the artistic system. Through the theoretical investigation of the production processes of physical structures and environments, the thesis focuses on the compositional dynamics within which materials actively perform. It examines how Lars Spuybroek’s architectural design method of Material Machines (2004), and both the tactile potential as well as tactical uses of materials as generators to the formtaking process, might describe an open and active artistic strategy for employing the experimental capacities of such materialization processes. Building on philosophical and conceptual arguments that trace concepts of agency (Bruno Latour’s Actant-Network theory) and enactment (Karen Barad’s concept of intra-acting), the thesis introduces the two installation works ANI_MATE (described as a performative pneumatic stage machine) and ON TRACK (described as a mechanic-robotic installation). These apply the introduced artistic strategies. The analyses of these two artworks traces the particular capacities of the materials involved (respectively, their elasticity or viscosity) to negotiate forces of physical movement, which effect the system to transiently or irreversibly transform. ANI_MATE is a machine that is artist-operated and that explores the relationship between liveanimation procedures and the transformability and flexibility of its material environment. In contrast, ON TRACK’s performative machine ecology removes human agency. The machines act autonomously, giving rise to chance in the artistic system and allowing agency to emerge from the dynamic interconnectivity between materials, parts, and processes, eventually producing an entropic scenario of spilling resources. The thesis concludes that, in the context of a post digital paradigm in-development, such artistic practice offers a new strategy for an emergent aesthetics within contemporary physical-digital performance.

This artistic, practice-based thesis has been developed based on the idea that design creates social and ideological change. From this perspective, Body Acts Queer — Clothing as a performative challenge to heteronormativity introduces an artistic way of working with and exploring the performative and ideological functions of clothing with regard to gender, feminism, and queer. The thesis presents this program for experimental fashion design—exemplified through a series of artistic projects—while also discussing the foundations of such an approach and the different perspectives that have affected the program and its artistic examples. Working with clothing and fashion design through artistic projects using text and bodies, this thesis transforms queer and feminist theory into a creative process and, by looking into bodily experiences of clothing, Body Acts Queer investigates its performative and ideological functions, with a focus on cultural, social, and heteronormative structures. Body Acts Queer suggests a change in the ways in which bodies act, are perceived, and are produced within the fashion field, giving examples of—and alternatives to—how queer design practice can be performed. In this thesis, queer design is explored as an inclusive term, containing ideas about clothing and language, the meeting point between fiction and reality, and the ability to perform interpretation and bodily transformations—where pleasure, bodily experiences, and interaction create a change.

This cross disciplinary study was conducted as two research and development projects. The outcome is a multimodal and dynamic chronicle, which incorporates the tracking of spatial, temporal and visual elements of performative practice-led and design-led research journeys. The distilled model provides a strong new approach to demonstrate rigour in non-traditional research outputs including provenance and an 'augmented web of facticity'.

This performance-as-research project documents, both through linguistic and non-linguistic texts, an investigation of the materiality of performative knowledges and analyses Music Theatre as an ecstatic and hyper-erotic creator of these knowledges. By actively engaging in a performative translation of an historical Music Theatre work, this research investigates how ecstatic inscription creates materiality within the performative knowledges of Music Theatre, and aims to provide further substance to the discourse surrounding performative knowledges and their relation to the epistemology and methodology of performance-as-research.

This performance-as-research project documents, both through linguistic and non-linguistic texts, an investigation of the materiality of performative knowledges and analyses Music Theatre as an ecstatic and hyper-erotic creator of these knowledges. By actively engaging in a performative translation of an historical Music Theatre work, this research investigates how ecstatic inscription creates materiality within the performative knowledges of Music Theatre, and aims to provide further substance to the discourse surrounding performative knowledges and their relation to the epistemology and methodology of performance-as-research.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-29T13:41:13Z No. of bitstreams: 3 CAPA DISSERTAÇÃO_MARIANA TERRA_2013_PDF.pdf: 116285 bytes, checksum: baf50ba711f37adf0644900f83a09dcf (MD5) AGRADECIMENTOS E SUMÁRIO DISSERTAÇÃO_MARIANA TERRA_2013_PDF.pdf: 140626 bytes, checksum: f472023f71796b7d89fcff7fb524591a (MD5) DISSERTAÇÃO_MARIANA TERRA_2013_PDF.pdf: 263168541 bytes, checksum: 0174e9dd540dc0aeb04c3aa988fe2dbe (MD5)
Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-08-30T13:47:38Z (GMT) No. of bitstreams: 3 CAPA DISSERTAÇÃO_MARIANA TERRA_2013_PDF.pdf: 116285 bytes, checksum: baf50ba711f37adf0644900f83a09dcf (MD5) AGRADECIMENTOS E SUMÁRIO DISSERTAÇÃO_MARIANA TERRA_2013_PDF.pdf: 140626 bytes, checksum: f472023f71796b7d89fcff7fb524591a (MD5) DISSERTAÇÃO_MARIANA TERRA_2013_PDF.pdf: 263168541 bytes, checksum: 0174e9dd540dc0aeb04c3aa988fe2dbe (MD5)
Made available in DSpace on 2018-08-30T13:47:38Z (GMT). No. of bitstreams: 3 CAPA DISSERTAÇÃO_MARIANA TERRA_2013_PDF.pdf: 116285 bytes, checksum: baf50ba711f37adf0644900f83a09dcf (MD5) AGRADECIMENTOS E SUMÁRIO DISSERTAÇÃO_MARIANA TERRA_2013_PDF.pdf: 140626 bytes, checksum: f472023f71796b7d89fcff7fb524591a (MD5) DISSERTAÇÃO_MARIANA TERRA_2013_PDF.pdf: 263168541 bytes, checksum: 0174e9dd540dc0aeb04c3aa988fe2dbe (MD5)
Esta dissertação destina-se ao lançamento de pressupostos que pretendem provocar revisões do campo da iluminação cênica enquanto área artística de saberes especializados, os quais têm sua fundamentação em conhecimentos técnicos do mundo conjugados à experiência integral do corpo vivido (soma). O objetivo é propor ligações intencionais do sujeito observador à sua própria percepção visual, no sentido de acessar estados criativos de olhar. No âmbito desta pesquisa, entende-se que tanto o profissional da iluminação cênica quanto pessoas não especializadas da área são realizadores e co-criadores da aparência visual do que está em seu campo de visão e, portanto, iluminadores de seu próprio olhar. Abrem-se, com isso, as comportas das convencionais burilações do status de artista e espectador, obra de arte e cotidiano. Por uma abordagem somático-performativa de experiência artística e também de construção estrutural da escrita, considera-se a integração interno-externo da percepção visual como aquilo que estabelece outros parâmetros para compreender a iluminação cênica a partir de princípios que reorganizam seus saberes fundamentais: a luz, o olhar e o aspecto visível das coisas do mundo. O campo passa a ser entendido como uma multiplicidade variada e infinita de possibilidades artístico-criativas, não mais se limitando exclusivamente a suprir necessidades plástico-visuais de espetáculos cênicos. O texto é uma narração autobiográfica em que relato os percursos, crises, desvios e descobertas que levaram a tais afirmações; tratase, portanto, de uma obra em processo contínuo. Ferramentas metodológicas de imagens somático-performativas auxiliam na articulação e movimentação vívida das ideias dispostas. Este é um trabalho multirreferencial de autores, conceitos e obras artísticas. Os principais conceitos que apoiam as discussões são: performatividade, imagem somático-performativa, observador e espectador emancipado. Outros conceitos ainda aparecem como pilares de temas específicos, como é o caso de co-evolução entre luz e cena e olho variável. Os autores que fundamentam o trabalho para falar de iluminação cênica são Roberto Camargo e Richard Palmer. Para dar consistência às proposições lançadas auxiliam-me Ciane Fernandes, Richard Schechner, Eve Sedgwick, Andrew Parker, Jacques Rancière, Jonathan Crary, Jacques Aumont, Alva Nöe, Vilém Flusser e Italo Calvino, dentre outros que aparecem pulverizados ao longo da travessia.
This dissertation is intended to launch assumptions that pretend to provoke revisions of the field of stage lighting as an artistic specialized area that has its foundation in expertise about the technical knowledge of the world combined to fully experience of the living body (soma). The goal is to propose the observer's intentional connections to their own visual perception, been able to access states of creative look. Within this research it is understood that both the professional stage lighting artist and the inexperienced people in this specific area are achievers and co-creators of the visual appearance of what is in their field of vision, and therefore the lighting doers of their own look. From that the floodgates of convencional rummage through status of artist and spectator, artwork and everyday life get opened. By a somatic-performative approach to artistic experience and also structural construction of writing, the integration of the internal-external visual perception are considered the settings for other parameters to understand the stage lighting from principles that reorganize their fundamental knowledgement: light, the look and appearance of visible things of the world. The field becames understood as multiple variations and infinite possibilities of artistic creations, no longer limited solely to meet the plastic-visual needs of scenic spectacles. The text is an autobiographical narration of the routes, crises, detours and discoveries that led to such claims, so it is a work in continual process. Methodological tools of somatic-perforative images helps the articulation and vivid movement of the arranged ideas. This is a work of multi-referential authors, concepts and artworks. The main concepts that support the discussions are: performativity, somatic-performative image, observer and emancipated spectator. Other concepts also appear as pillars of specific topics, such as co-evolution between light and live scene and the variable eye. The authors that give the foundation to speak about stage lighting are Roberto Camargo and Richard Palmer. To give consistency to the propositions presented the ones that help me are Ciane Fernandes, Richard Schechner, Eve Sedgwick, Andrew Parker, Jacques Rancière, Jonathan Crary, Jacques Aumont, Alva Noë, Vilém Flusser and Italo Calvino, and yet some others that appear sprayed over the crossing.

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.

Es planteja la fonamentació d'un model integrat de formació humana, desenvolupament i intervenció organitzacional en un context pedagògic socioeducatiu. S'explicita un nucli d'intel·ligibilitat epistemològic, (Gergen, 1996) i es desenvolupen els seus continguts metateòrics, teòrics i metodològics Per a situar el model en una perspectiva metateòrica constructivista i construccionista social, s'examinen dos canvis considerats rellevants en les explicacions epistemològiques de la ciència que donen suport a aquesta perspectiva: el gir lingüístic i el que els biòlegs biocibernètics de la modernitat anomenen gir ontològic. Aquests fonaments científics del constructivisme, es recullen en el disseny del model que es fa càrrec de tres explicacions plantejades per aquests girs així com de les seves conseqüències.

El disseny del model assumeix aquestes distincions i estableix un creuament amb els desenvolupaments post-analítics del gir lingüístic en la comprensió performativa del llenguatge, per a la concepció de l'organització com una xarxa de converses. Assumeix el caràcter emergent de la conducta lingüística en l'acoblament amb el medi. aquest acoblament estructural s'entén enactivament mitjançant l'ús recursiu del llenguatge, per a generar compromisos vers un aprenentatge que integri les persones al sistema.

El disseny reencuadra la investigació-acció utilitzant eines de cibernètica de primer ordre en una cibernètica de segon ordre, mitjançant converses recurrents per articular les metes de l'organització amb l'espai relacional. Incorpora metodologies de primera persona performatives i comunicacionals com eines per integrar la dimensió dels valors d'un mateix amb les metes de l'organització amb l'objectiu de reproduir-la mitjançant la integració social. Opera mitjançant el treball en grup per tal que les converses es situïn en la segona persona, (jo-altres), per tal de possibilitar l'emergència de la primera persona.

Assumeix la distinció de les dues dimensiones del ésser cognitiu (Varela 2000): una d'enllaç mitjançant el llenguatge per la coderiva del sistema amb el medi, i una dimensió d'excedent de significació, és a dir, d'interpretació per a la reformulació de la experiència en el llenguatge (narrativa), que conservi aquest acoblament amb el medi.

Per tal de reduir les pertorbacions que provoca el trencament de l'acoblament emergeix la interpretació com l'alternativa per a generar possibilitats d'acció; passar d'un estat present amb trencaments per fer emergir un estat desitjat com a futur viable. En aquesta escletxa que s'obre en l'espai relacional entre l'estat present i l'estat desitjat pren sentit l'ús d'aquestes eines de conversa per a accedir a un rerefons amb mirada compartida. L'estat desitjat acoblat al llenguatge opera com un feed-forward positiu per a la construcció de sentit. S'ajuda a més d'una visió binocular del canvi, analitzant dos series categorials de pensament en la modernitat.

Finalment es descriu l'aplicació i els resultats del Model en una organització de serveis de salut.
Se plantea la fundamentación de un modelo integrado de formación humana, capacitación e intervención organizacional en un contexto pedagógico socio educativo. Explicita un núcleo de inteligibilidad epistemológico, (Gergen, 1996) desarrollando sus contenidos metateoricos, teóricos y metodológico Para situar el modelo en una perspectiva metateórico constructivista y construccionista social, se examinan dos cambios considerados relevantes en las explicaciones epistemológicas de la ciencia que dan sustento a esta perspectiva: el giro lingüístico y el llamado por los biólogos biocibernéticos giro ontológico de la modernidad. Estos fundamentos científicos del constructivismo contenidos en este último, se recogen en el diseño del modelo, que se hace cargo de tres explicaciones que dejan planteadas este giro y de las consecuencias que de ellas surgen para su formalización.-

El diseño del modelo asume estas distinciones y realiza un cruce con los desarrollos post analíticos del giro lingüístico en la comprensión performativa del lenguaje, para la concepción de la organización como una red de conversaciones. Asume el carácter emergente de la conducta lingüística en el acoplamiento con el medio. Este acoplamiento estructural se entiende enactivamente mediante el uso recursivo del lenguaje, para generar compromisos para un aprendizaje que integre las personas al sistema.

El diseño es un Modelo autopoiético que metodológicamente reencuadra la investigación-acción usando herramientas de cibernética de primer orden en una cibernética de segundo orden, mediante conversaciones recurrentes para articular las metas de la organización con el espacio relacional. Incorpora metodologías de primera persona performativas comunicacionales como herramientas para integrar la dimensión valórica del si mismo con las metas de la organización, para reproducirla mediante integración social. Opera mediante trabajo grupal para que las conversaciones se sitúen en la segunda persona, (yo-otros), para posibilitar la emergencia de la primera persona.

Asume la distinción de las dos dimensiones del ser cognitivo (Varela 2000), una de enlace mediante el lenguaje para la coderiva del sistema con el medio, y una dimensión de excedente de significación, esto es, de interpretación para la reformulación de la experiencia en el lenguaje (narrativa), que conserve ese acoplamiento con el medio.

Para reducir las perturbaciones que provocan el quiebre del acoplamiento emerge la interpretación como la alternativa para generar posibilidades de acción, pasar de un estado presente con quiebres para hacer emerger un estado deseado como futuro viable. En esa brecha que se abre en el espacio relacional entre el estado presente y el estado deseado hace sentido el uso de estas herramientas conversacionales para acceder a un trasfondo con mirada compartida. El estado deseado acoplado al lenguaje opera como un feed forward positivo para la construcción de sentido. Se apoya para ello, además, en una visión binocular del cambio, analizando dos series categoriales de pensamiento en la modernidad.

Finalmente se describe la aplicación y resultados del Modelo en una organización de servicios de salud.
The foundation for an integrated model of human formation, training and organizational intervention within a socio-educational pedagogic context is presented here. It explicits an epistemological intelligibility core (Gergen, 1996) developing its theoretical, metatheoretical and methodological contents. To place the model into a metatheoretical social constructivism and social constructionist perspective, two relevant considered shifts in epistemological explanations of science that supports this perspective are reviewed: the linguistic turn and the so called by biocybernetical biologists ontological turn of modernity. These scientific foundations of constructivism contained in this turn, are brought into the model design that takes charge of three explanations put forward by the turn and the consequences arising from them for its formalization.

The design of the model assumes these distinctions and performs a crossing with the post analytical developments of the linguistic turn in the performative comprehension of language, for conceiving the organization as a network of conversations. It assumes the emerging character of linguistic behavior in coupling to the environment. This structural coupling is enactively understood through the recursive use of language, to generate commitments for a learning that integrates persons to the system.

The design is an autopoietical model that methodologically reframes research-action using tools of first order cybernetics within a second order cybernetics, through recurrent conversations to articulate organization's goals with the relational space. It incorporates communicational first person performative methodologies as tools to integrate the valoric dimension of the self with the organization's goals, to reproduce it through social integration. It operates through group work placing conversations in second person (I - others), for making the emergence of the first person possible.

It assumes the distinction of the two dimensions of the cognitive being (Varela, 2000), one as a link of language for the co-derive of the system with the environment and one as signification surplus, that is, of interpretation for the reformulation of the experience in language (narrative), that keep that coupling with the environment.

Interpretation emerges as the alternative for generating action possibilities to reduce perturbations that provoke the breaking of coupling, to go through a present state with breakings to an emergent wished state as a viable future. In this breach opened in the relational space between the present state and the wished state the use of these conversational tools makes sense to access a background with shared vision. The wished state coupled to language operates as a positive feed forward for constructing meaning. It also supports itself on a binocular vision of change, analyzing two categorical series of thought in modernity.

Finally, the application and results of the model are described within a health services organization.

Body Acts Queer is an exploration of the performative and ideological functions of clothes with regard to gender, feminism and queer. It is an artistic, practice-based thesis in the field of fashion and design. The thesis includes three projects: On & Off, If you were a girl I would love you even more and The Club Scene. In these projects I, using text and bodies, work with acts in which clothes have a fundamental role. By exploring bodily experiences of clothes, I investigate the clothes’ performative and ideological functions, with a focus on cultural, social and heteronormative structures. Working with clothing and fashion design from a queer feminist perspective, I transform queer and feminist theory into a creative process. The projects presented in this thesis, together with the discussion, suggest a change in the ways in which bodies act, are perceived and are produced within the fashion field, giving examples of how a queer design practice can be performed. In this thesis, queer design is explored as an inclusive term, containing ideas about clothes and language, the meeting point between fiction and reality and the ability to interpretation and bodily transformations – where desire, bodily experiences and interaction create a change.

How can political participatory processes online be understood in the dynamic, conflicted and highly mediated situations of contemporary society? What does democracy mean in a scenario where inequality and difference are the norms, and where people tend to abandon situations in which they and their interests are not recognized? How can we accommodate differences rather than consensus in a scenario where multiple networks of people are the starting point rather than a single community? In this thesis, these questions are explored through an iterative process in two studies that have used or resulted in three prototypes and one art exhibition. The first study is of communication practices in a global interest community, which resulted in two prototypes: Actory, a groupware that takes differences rather than equality as the starting point for a collaborative tool, and The Affect Machine, a social network where differences are used as a relational capital. The second study is of communication practices in a local commonality where the art exhibition Performing the Common created a public space and involved participants. This resulted in Njaru, a collaborative tool with integrated decision support and visualization of representativeness. In summary, these works depart from the notion of the importance of belonging for e-participation, where the individual can be seen as a participant in several performative states, more or less interconnected trans-local publics. Here the individuals’ participation in the local public sphere compete with their participation in other communities, and affect the conditions for local democracy. This thesis contributes to a deeper understanding of these processes, and discusses how differences in democratic participation can be managed with the help of ICT.
Hur kan politiskt deltagande på Internet förstås, i de dynamiska, konfliktfyllda och medierade situationerna i dagens samhälle? Vad innebär demokrati i ett scenario där ojämlikhet och skillnad är normen och där människor tenderar att överge situationer där de själva och deras intressen inte erkänns? Hur kan vi hantera skillnader snarare än konsensus i ett scenario där flera nätverk av människor är utgångspunkten i stället för en enda gemenskap? I denna avhandling har dessa frågor utforskas genom en iterativ process i två studier som har använt eller resulterat i tre prototyper och en konstutställning. Den första studien gäller kommunikationen i en global intressegemenskap vilket resulterade i två prototyper: Actory, som tar olikheter snarare än jämlikhet som utgångspunkt för ett samarbetsverktyg, och The Affect Machine, ett socialt nätverk där olikheter används som ett relationskapital. Den andra studien gäller kommunikationen i en lokal gemenskap där konstutställningen Föreställningar om det gemensamma skapat ett offentligt rum och engagerade deltagare. Resultatet resulterade bland annat i Njaru, ett samarbetsverktyg med integrerat beslutsstöd och visualisering av graden av representativitet i processen. Sammanfattningsvis utgår dessa arbeten från en idé om vikten av tillhörighet för e-deltagande, där individen kan ses som en deltagare i flera performativa stater, mer eller mindre sammankopplade translokala målgrupper. Här konkurrerar individernas deltagande i den lokala offentligheten med deras deltagande i andra samhällen, och påverkar förutsättningarna för lokal demokrati. Denna avhandling bidrar till en djupare förståelse av dessa processer, och diskuterar hur skillnaderna i demokratiskt deltagande kan hanteras med hjälp av IKT.

At the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 1: Submitted. Paper 8: Submitted.

This research project investigates the characteristics of Echo Theatre, its potential to foster performative and narrative competencies in students, and the role of the teacher in this performative and educational practice. Echo Theatre is a method devised during my storytelling practice and this research confirms that there is no identical research or teaching practice which involves students staging personal narratives in the classroom in this way. The study has been informed by crossdisciplinary theory studies from the fields of phenomenology, cognitive sciences, and theatre practice. To analyse and discuss Echo Theatre's potential contribution to the development of the child I have defined the concept of a performative competence as well as redefined the concept of a narrative competence. The situated, embodied and performative character of human cognition is emphasised as physical actions and thinking in movement is related to both gestural and conceptual understandings. Studies in philosophy and psychology confirm that narrative structure, related to identity construction and meaning-­‐making, can be attained through the performing body. We tell stories to know who we are. Telling stories then in the Echo Theatre model develops multiple competencies related to the performative aspects of theatre practice as well as the narrative aspects of storytelling. The practice-­‐led aspect of this research project includes two fieldwork projects involving a primary school class who created sixteen different Echo Theatre stories. Student participation reveals that Echo Theatre is most constructive when it moves through five phases; recalled experience, narrative, drama, performance, and evaluation. Ongoing reflection is a part of all five phases. The study also confirms that while there is potential for Echo Theatre to support the development of performative and narrative competencies in students, the effectiveness of this directly relates to the teacher's theatre knowledge and skills and his or her didactic attitude towards the students. This study confirms that the potential for learning through the moving and performing body of Echo Theatre is strengthened by working with personal narratives in the classroom and led by teachers displaying heightened skills and knowledge of the aesthetics and dynamics of theatrical form.

This practice-led research project aims to use contemporary art processes and concepts of fandom to construct a space for the critical and creative exploration of the relationship between them. Much of the discourse addressing the intersection of these spaces over the last three decades tends to treat art and fan studies as separate areas of critical and theoretical research. There has also been very little consideration of the critical interface that art practice and fandom share in their engagement with one another – or how the artist as fan might creatively exploit this relationship. Approaching these issues through a practice-led methodology that combines studio based explorations and traditional modes of research, the project aims to demonstrate how my 'fannish' engagements with popular culture can generate new responses to, and understandings of, the relationship between fandom, affect and visual art. The research acts as a performative and creative investigation of fandom as I document the complicit tendencies that arise out of my affective relationship with pop cultural artefacts. It does this through appropriating and reconfiguring content from film, television and print media, to create digital video installations aimed at engendering new experiences and critical interpretations of screen culture. This approach promotes new possibilities for creative engagements with art and popular culture, and these are framed through the lens of what I term the digital-bricoleur. The research will be primarily contextualised by examining other artists' practices as well as selected theoretical frameworks that traverse my investigative terrain. The key artists that are discussed include Douglas Gordon, Candice Brietz, Pierre Huyghe, Paul Pfieffer, and Jennifer and Kevin McCoy. The theoretical developments of the project are drawn from a pluralistic range of ideas ranging from Johanna Drucker's discussion of critical complicity in contemporary art, Matt Hills' discussion of subjectivity in fandom and academia, Nicolas Bourriaud's discussion of Postproduction art practices, and Jacques Rancière's ideas about aesthetics and politics. The methodology and artworks developed over the course of this project will also demonstrate how digital-bricolage leads to new understandings of the relationships between contemporary art and entertainment. The research aims to exploit these apparently contradictory positions to generate a productive site for rethinking the relationship between the creative and critical possibilities of art and fandom. The outcomes of the research consists of a body of artworks – 75% – that demonstrate new contributions to knowledge, and an exegetical component – 25% – that acts to reflect on, analyse and critically contextualise the practice-led findings.

L'art a été proposé comme réponse aux critiques de la Management Education dont les activités se sont académisées et où les approches d'inspiration scientifique dominent. Ma thèse constate l'homogénéité de la littérature spécialisée qui tend à se focaliser sur les apports des caractéristiques « romantiques » de l'art – où il est pris comme l'opposé théorique de la gestion. Avec une perspective critique, ma thèse s'appuie sur l'étude longitudinale, qualitative, inductive d'un cas unique pour tenter de déterminer si l'art, employé en tant que pédagogie, éloigne du localement dominant. L'analyse indique qu'il s'agit d'une expérience d’une pratique hybride, entre art et gestion, qui peut résonner avec les piliers de la Management Education. L'art éloigne alors de l’académisme, mais l’on reste dans le domaine de l’activité organisée qui peut être compatible avec les valeurs managériales actuelles. Il apporte une expérience du pratique, pas uniquement les caractéristiques romantiques. Il peut agir plutôt sur les moyens que sur les fins, pour offrir un retour vers un fondement pratique source de la Management Education avant son académisation progressive
Art has been put forward in response to the critiques of Management Education whose activities have become quite academized and where scientifically inspired approaches dominate. In my thesis, I note the homogeneity of the specialized literature which is quite focused on what the “romantic” characteristics of art can bring – art is there taken as the theoretical opposite of management. With a critical perspective, my thesis builds on a longitudinal, qualitative, inductive study of a single case to try to determine if art, used as a teaching method, creates distance with what locally dominates. The analysis indicates it is an experience of a hybrid practice, between art and management, which can resonate with the pillars of Management Education. Art entails less academism, but one remains in the domain of an organized activity that can be compatible with the current managerial values. It brings an experience of the practical, not only the romantic characteristics. It can have an effect on the means more than on the ends, so as to offer a return to a practical foundation which has been the source of Management Education before its progressive academization

Depuis la naissance des sciences de gestion, les chercheurs questionnent la pertinence de leurs travaux pour la pratique des entreprises. Interroger le rapport de la recherche à la pratique, c'est s'intéresser à la façon dont sont produites les connaissances managériales. Nous nous focalisons tout d'abord sur la controverse développée autour du rapport de la recherche à la pratique en développant quatre approches complémentaires par lesquelles les académiques appréhendent le rapport à la pratique. Dans un deuxième temps, nous nous intéressons à la façon dont chercheurs et praticiens développent ensemble des innovations managériales et conceptualisons un processus de développement spécifique aux innovations managériales développées entre recherche et pratique. Dans un troisième temps, nous étudions le concept de Stratégie Océan Bleu et nous montrons comment ses innovateurs ont performé leur concept suivant ses préceptes. Enfin, nous nous intéressons au chercheur-praticien, un acteur qui d'une part se situe à la fois dans le monde de la recherche et dans celui de la pratique et qui d'autre part participe à la production des connaissances managériales. L'objectif est de mieux appréhender les conflits de rôle auxquels ils font face et la façon dont ils équilibrent leurs rôles. Ainsi, par ces quatre études, cette thèse éclaire la façon dont sont produites les connaissances managériales
Since the early days of management research, its relevance to practice has been the subject of vigorous debate. Understanding the relationship between research and practice implies studying how management knowledge is produced. We first aim at understanding the controversy surrounding the relevance of management research. We develop four complementary approaches on how academics apprehend the relationship between research and practice. Then, we develop a framework that allows the identification of four modes of interactions between scholars and practitioners and discover a developmental process that is specific to the management innovations that are developed between research and practice. Then, we study how the strategic concept of “Blue Ocean Strategy” is performed. We show how its innovators have performed the concept by applying its own principles. Finally, we are interested in scholar-practitioners given they straddle the worlds of research and practice to produce management knowledge. We seek to understand how they overcome role conflicts related to their activities in both research and practice. These four studies shed light on how management knowledge is produced

Ma recherche tend à répondre à des questionnements ayant émergé durant ma pratique de la danse flamenco, depuis ma posture d’étudiante, d’interprète, de chorégraphe, puis de pédagogue. À travers la restitution d’une itinérance sensible entre Lyon, Séville, Madrid et la Chine, j’interroge dans cette thèse ce qui fait flamenco, réévaluant par une méthode déconstructiviste certains discours et gestes qui tendraient à définir ce qui fait centre (poncifs/vérités établies/stéréotypes) dans le flamenco, tout en créant une dialectique avec d’autres figures faisant, elles, d’apparents écarts. Sur ce second point, j’approfondis dans ma recherche plus spécifiquement l’approche flamenco empirique, qu’a élaborée Juan Carlos Lérida au cours de sa trajectoire artistique, afin de rendre compte de la façon dont certaines figures, à la marge du discours dominant dans le flamenco, interrogent l’élasticité des pourtours définitionnels de cette expression artistique. Mon cheminement pratique et théorique avec Juan Carlos Lérida m’a conduit à expérimenter une approche archéologique du geste flamenco en recherche-création, visant à interroger la dynamique de construction de la forme flamenco (identification de survivances formelles, pathos de la fête, poétique de la spirale) sur le plan diachronique et synchronique, mais aussi à m’ouvrir au « palimpseste » comme outil épistémologique. La démarche méthodologique investie pour mener la poétique exploratoire, dont cette thèse rend compte, en plus de l’exercice analytique, critique, s’est également employée à élaborer des objets-créations (performances, vidéos documentaire, vidéodanses, photographies) émanant de champs de compétences croisées afin de défendre une constitution heuristique des savoirs, grâce aux études des processus de création et la mise en réflexivité de l’expérience
My research aims to answer questions that arose from practicing flamenco, initially as a student, then as an interpreter and choreographer and eventually as a teacher. After gathering insightful experiences from Seville, Madrid and China, my thesis addresses the question “what is flamenco?”. Via a deconstructionist method, this study re-evaluates some of the conceptions and body language that tend to define what is central to flamenco (clichés / established truths / stereotypes), while analysing the dialectics of figures who clearly deviate from these central ideas. Thus, my research explores in greater depth and more specifically the empirical approach developed by Juan Carlos Lérida during his artistic career, for a better understanding of how figures straying from the dominant conception of flamenco, test the elasticity of the outer limits of this artistic expression. My practical and theory-based exploration with Juan Carlos Lérida led me to experiment with an archaeological approach to research-creation in flamenco dance, that aimed to analyse the way flamenco expression has developed (identification of the survival of forms, the festive pathos, the poetics of the spiral movement) from both a diachronic and synchronic perspective, but also to embrace the “palimpsest” as an epistemological tool. The methodological approach that led to the exploration of poetics described in this work, along with the analytical and critical exercises, also incited a range of multi-disciplinary creative projects (performances, video documentaries, dance videos, photographs) that defend the heuristic method of gathering knowledge via studying creation processes and reflecting on experiences
Este trabajo pretende responder a ciertas cuestiones que me surgieron en la práctica del baile flamenco siendo estudiante, intérprete, coreógrafa y pedagoga. A través de una restitución de un itinerario sensitivo entre Lyon, Sevilla, Madrid y China, analizo en esta tesis lo que hace que algo sea flamenco reevaluando, mediante un método deconstructivista, ciertos discursos y gestos que buscan definir lo central (tópicos, verdades establecidas, estereotipos) en el flamenco, creando una dialéctica con otras figuras que aparentemente discrepan. En este segundo punto, profundizo en mi investigación más concretamente en la aproximación flamenco-empírica elaborada por Juan Carlos Lérida a lo largo de su trayectoria artística, con el fin de demostrar en que manera ciertas formas al margen del discurso flamenco dominante cuestionan la ductilidad de la definición de esta forma artística. Mi andadura práctico-teórica con Juan Carlos Lérida me ha permitido experimentar una aproximación arqueológica respecto al gesto flamenco en un proceso de investigación-creación con vistas a analizar la dinámica de la forma flamenca (identificación de vestigios formales, pathos de la fiesta, poética de la espiral) desde un punto de vista diacrónico y sincrónico, posibilitando al mismo tiempo a abrirme al “palimpsesto” como herramienta epistemológica. La metodología usada para llevar la poética exploradora expuesta en esta tesis también se ha empleado, además del ejercicio analítico, crítico, para elaborar objetos-creaciones (performances, documentales, video-danza, fotografía) resultantes de campos de competencia cruzados con el fin de defender una constitución heurística de los conocimientos gracias al estudio de los procesos de creación y la reflexión acerca de la experiencia

This dissertation explores learning, community, identity and transformation as these transpire in the situated practices and process of The Performance Project, an artist-facilitated performing group that began in a county jail. Interpretation and discussion respond to the primary philosophical framework of Deweyan pragmatism and to Etienne Wenger's theory of learning, Communities of Practice, which is grounded in the assumption that engagement in social practice is the fundamental process by which people learn and develop a sense of identity. Too, aspects of Performance Theory are employed, as is methodological scaffolding, proposed by ethnographers of communication, that supports an understanding of the ways language and ritual may point to sacred objects and principles around which a community is organized. This dissertation submits a theoretical entity for consideration, “facilitated communities of collaborative, performative, artistic praxis,” proposing a model for pedagogic application, and contributes to an area of inquiry that is, in the author's view, under-explored by scholars of communication or performance: what occurs, for whom, in collaborative creative processes derived from theatre practices and explicitly centered upon art, participation and change.

I conduct a series of experiments culminating in a gallery exhibition, I Never Stopped Being A Curator, which investigate and reinterpret what it means to ‘care’ and ‘profane’ in the context of an expanded notion of curatorial practice. I call what I’m doing ‘performative micro-curating,’ a playfully performative practice with precedents dating back to Marcel Duchamp and The Richard Mutt Case. More specifically, I’m interpreting and practising performative micro-curating as a relational, meta-conceptual art practice that uses mirroring and repetition as a method for posing questions, making knowledge and forging social bonds, while, at the same time, dissolving the boundaries that customarily distinguish artmaking from curating.

Through a layered account format combining theory, performative autoethnographic vignettes, and dialogical exchanges, the author explores the performances of Supermotherhood as they materialize within her life and potentially within the lives of, and through interactions with, other mothers inside and outside of her immediate peer group. The author analyses the ways the pervasive ideology of perfect mothering manifests itself within motherhood culture, and how it ultimately impacts maternal agency, self worth, and by extension, the family unit, and the culture of motherhood-mothering in general. Guided by a feminist poststructuralist approach, the author argues that the Supermom, or rather, Super Mom meta-identity offers all subjective labels and ideologies of mothering a place to become and celebrate possibility, individuality, transition, and maternal empowerment. Keywords: mothering; feminism; performative identity; autoethnography; poststructuralist feminism; maternal empowerment; layered account

Com o intuito de conhecer, compreender e documentar o processo de criação coreográfica solista composta e interpretada pela própria bailarina-coreógrafa, propus-me criar, observar, refletir sobre e descrever o processo de criação coreográfica da obra ‘Inspiração’, assumidamente tornando conscientes e documentando todas as fases, desde a conceção, composição e ensaios, até à apresentação final ao público. ‘Inspiração’, a obra solista de 45 minutos, conjuga as linguagens da Dança e do Yoga, numa aproximação à Dança Extemporânea, tendo como ponto de partida a descoberta do movimento natural do corpo da bailarina-coreógrafa que passou pelo processo coreográfico de forma autónoma e em relação privilegiada com os seus processos intuitivos. De acordo com o regime de Doutoramento em Artes (Diário da República, 2013), para além de incluir a criação artística produzida, esta dissertação apresenta uma estrutura que conjuga os quesitos da investigação universitária. De carácter eminentemente qualitativo, com características mistas, este estudo inscreve-se no Paradigma Performativo de Haseman (2006) e utiliza métodos autoetnográficos recorrendo à auto-observação e a reflexões evocativas sobre as práticas coreográfica e performativa. Metodologicamente, esta pesquisa decorre da prática (Practice-led Research), assume-se como uma forma de questionamento da prática e assenta numa abordagem etnográfica visual ao utilizar componentes gráficos, audiovisuais e performativos. Como resultados obteve-se a criação artística coreo(autoetno)gráfica solista Inspiração; a presente dissertação que através de um registo escrito reúne e organiza os dados recolhidos e articula o conhecimento produzido; os vídeo-documentários que mostram o processo coreográfico e performativo da obra; o vídeo oficial da obra coreográfica; e um conjunto de 3 outputs: o Resumo Técnico, o Modelo dos Processos e Fases, e o Modelo do Espectro Solista-Colaborativo. Em conclusão, esta investigação, que acompanhou a prática coreográfica em tempo real, procurou avançar conhecimento com significado operacional e caracterizou um processo coreográfico ao qual adicionou camadas de observação e de interpretação contribuindo para a compreensão, clarificação e sistematização do ato de compor uma obra coreográfica solista autoral.
Aiming to know, understand and document the process of solo choreographic creation composed and performed by the dancer-choreographer herself, I proposed to create, observe, eflect on and describe the choreographic creation process of the work “Inspiration’. For such purpose, I assumedly both grew awareness and documented all its phases, from conception, composition and rehearsals, to the final presentation to the public. 'Inspiration', the 45 minutes solo work, combines the languages of Dance and Yoga in an approach to Extemporaneous Dance, starting by discovering the natural movement of the dancer-choreographer’s body, who went through the choreographic process with autonomy and in a privileged relationship with her intuitive process. According to the PhD in Arts (Diário da República, 2013), in addition to including the artistic creation produced, this dissertation presents a structure combining the requests of university research. Eminently qualitative, with mixed characteristics, this study subscribes Hasemans’s Performative Paradigm (2006) and ses auto-ethnographic methods resorting to self-observation and evocative reflections on choreographic and performative practices. Methodologically, this research stems from practice Practice-led Research) and assumes itself as a way of questioning the practice. It is also based in a visual ethnographic approach, presenting graphics, audiovisual and performative components. As a result, I obtained the choreo(autoethno)graphic soloist artistic creation Inspiration’; this dissertation, as a written record, that gathers and organizes the collected data nd articulates the knowledge obtained; the video-documentaries showing the choreographic and the performative processes of the work; the official video of the choreographic work; and a set of 3 outputs: the Technical Summary, the Processes and Phases Model, and the Soloist-Collaborative Spectrum Model. In conclusion, this research, that followed the choreographic practice in real time, is an attempt to propose new knowledge with practical significance and to characterize a choreographic process. The added layers of observation and interpretation contribute to the understanding, clarification and systematization of the act of composing an authorial choreographic soloist work.