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Статті в журналах з теми "DIY culture":
1
Jackson, Andrew. "Tinkering: Australians Re-invent DIY Culture." Journal of Modern Craft 12, no. 1 (January 2, 2019): 85–87. http://dx.doi.org/10.1080/17496772.2019.1568056.
2
Knochel, Aaron D. "DIY Prosthetics: Digital Fabrication and Participatory Culture." Art Education 69, no. 5 (August 15, 2016): 7–13. http://dx.doi.org/10.1080/00043125.2016.1201401.
3
Bradley, Pete. "Enjoy the Ride: DIY culture in Nottingham." Capital & Class 28, no. 3 (November 2004): 179–81. http://dx.doi.org/10.1177/030981680408400114.
4
Sipos, Regina, and Kerstin Franzl. "Tracing the History of DIY and Maker Culture in Germany’s Open Workshops." Digital Culture & Society 6, no. 1 (December 1, 2020): 109–20. http://dx.doi.org/10.14361/dcs-2020-0106.
Анотація:
Abstract This article presents preliminary research findings on the history of Do-It-Yourself (DIY) and maker culture in Germany. It aims to identify historical, political, economic and societal shifts that have led to the existence of approximately 1000 makerspaces of various kinds in Germany today. The article summarises the beginnings of DIY in the 20th century in West Germany and East Germany. It focuses on how infrastructures supporting DIY were created out of necessity and economic considerations, how tools and spaces were offered as public service, the influence of counterculture movements and expression of political views through DIY and finally the use of DIY as a meaningful way to spend newfound leisure time and the phenomenon of state-funded vocational educational spaces. It aims to inspire further research elucidating the connections between broader societal contexts and DIY throughout the past century and its effects on maker culture today.
5
Wihewuren, Jessefan Isaiah, Elisabeth Christine Yuwono, and Vanessa Yusuf. "Basajiwa: Do It Yourself Innovation of Indonesian Batik Education." Gelar : Jurnal Seni Budaya 20, no. 1 (July 29, 2022): 29–37. http://dx.doi.org/10.33153/glr.v20i1.4231.
Анотація:
Batik as an Indonesian culture has many relations towards Indonesian traditions. Its long production process has created stigma and the youths' disinterest in batik. DIY (Do It Yourself) batik products can be the answer on how to educate and attract youths' interest in Batik Indonesia. DIY batik products are innovative and must be created to pass down batik culture to youths. Through Basajiwa and its batik DIY products, youths will be able to recognize and engage in batik culture. Motifs such as Parang Rusak, Parang Centhung, Semen Ageng Sawat Gurdha, and Kawung Sen/Beton are designed to represent some Indonesian batik motifs. The existence of DIY batik products and Basajiwa are further investigated by means of descriptive qualitative analysis research and SWOT Method. Outputs consist of facts about some Indonesian batik motifs, brand analysis of Basajiwa as DIY batik brand, and effects of DIY batik on youths. It is concluded that Basajiwa and its DIY batik products are able to be the correct solution to generate interest of youths towards batik Indonesia because it becomes a self-healing activity and to de-stress for a while.
6
Poon, Michelle, and Wilhelm E. J. Klein. "Identity Crisis in the Pearl River Delta." Digital Culture & Society 3, no. 1 (July 26, 2017): 159–84. http://dx.doi.org/10.14361/dcs-2017-0111.
Анотація:
Abstract This paper is a conversation-based reflection on hacker-, maker- and DIY-culture. It focuses on the unique cultural and socio-economic setting of Hong Kong, using Dim Sum Labs, its first hacker/makerspace as its primary subject of investigation. To provide context, we begin with an outline of the cultural, economic and physical challenges presented by Hong Kong. We then proceed to present and relay conversation pieces from interviews with members and non-members of Dim Sum Labs, who speak about their respective perspectives on notions of “hacking,” “making” and “DIY-culture.” Finally, we provide some reflections on our own experiences as members of the hacker/maker/ DIY-culture and past directors of Dim Sum Labs.
7
Martin-Iverson, Sean. "REVIEW | Underground: The Subterranean Culture of DIY Punk Shows." IASPM@Journal 6, no. 1 (November 7, 2016): 154–56. http://dx.doi.org/10.5429/2079-3871(2016)v6i1.12en.
8
Kanai, Akane. "Jennifer Lawrence, remixed: approaching celebrity through DIY digital culture." Celebrity Studies 6, no. 3 (July 3, 2015): 322–40. http://dx.doi.org/10.1080/19392397.2015.1062644.
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Prabowo, Trisnar Adi, Endang Rini Sukamti, Ardiah Juita, Agus Sulastio, Ni Putu Nita Wijayanti, and Ricky Susiono. "Analysis of Coaches Work Culture Behavior in DIY Province." COMPETITOR: Jurnal Pendidikan Kepelatihan Olahraga 15, no. 2 (June 25, 2023): 356. http://dx.doi.org/10.26858/cjpko.v15i2.48020.
Анотація:
The purpose of this research is to analyze the coaches work cultural behavior in DIY province in the context of POPNAS 2023 (National Student Sports Week) Indonesia. The importance of this study is to evaluate the trainer's performance during the training periodization. This research uses survey method, its analysis uses quantitative descriptive. The sample of this research is 40 trainers consisting of 15 types of sports, these sports will be competed in the Indonesian POPNAS (National Student Sports Week). The research instrument was a questionnaire in the form of a Google form consisting of 24 statement items. The indicators of the coache work culture behavior are divided into attitudes toward work and behavior on time work. Test the validity of the instrument using Aiken's with a value of 0.898 and Cronbach's Alpha reliability test with a value of 0.791. The results of this study indicate that the cultural behavior of DIY provincial trainers shows the results of "very poor" 4 coaches (10%), "less" 7 coaches (17.5%), "enough" 21 coaches (52.5%), "Good" 6 coaches (15 %), “very good” 2 coaches (5%). Based on the results of research on work behavior, the work culture of DIY coaches is in the dominant category of "enough". Thus it can be an evaluation material for all levels of coaches and sports organizations about the importance of coach awareness and other support including sports institutions so that they pay more attention to coaches. Suggestions from this study so that research can be developed by adding samples or research variables. Because research that examines the work culture of coaches is still a little published.
10
Muallidin, Isnaini, Abdul Juli Andi Gani, Mujibur Rahman Khairul Muluk, and Andy Fefta Wijaya. "THE BARRIERS TO ORGANIZATIONAL REFORM IN LOCAL GOVERNMENT: CASE STUDY IN THE SPECIAL REGION OF YOGYAKARTA." International Journal of Applied Research in Social Sciences 4, no. 3 (May 19, 2022): 75–81. http://dx.doi.org/10.51594/ijarss.v4i3.333.
Анотація:
The purpose of this research is to describe and analyze the obstacles in organizational reform in the Special Region of Yogyakarta. The method in this research uses qualitative methods and data analysis uses spiral analysis techniques. The results show that there are several obstacles related to organizational factors, namely: the problem of limited communication between superiors and subordinates, especially the Governor of DIY and the head of the OPD. For the divisional inhibiting factor in the DIY Regional Government in carrying out organizational reforms, the OPD head in responding to ideas from the DIY Governor in some ways is still slow. The functional factor that becomes an obstacle is the implementation of cross-agency government culture that has not run optimally.
Keywords: Barriers, Organizational Reform, Culture, DIY.
Дисертації з теми "DIY culture":
1
Quader, Shams Bin. "Like a sustainable version: Practising independence in the Central Sydney independent music scene." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23381.
Анотація:
Independent music is a complex concept. It has meant different things at different historical moments of popular music and within academic, music press and industry discourses. Even though what independent music refers to might not be substantive, it has tended to signify an oppositional ethos comprising practices related to maintaining distinction from commercialised popular music. This study is about exploring how contemporary independent musicians practice independence within the Central Sydney independent music scene. A socio-cultural formation of like-minded, largely middle-class musicians and enthusiasts involved with independent music currently exists within the geographical region of Central Sydney. Exploration of this local phenomenon necessitates inquiring about the contemporary state of this scene, including how and why it takes the form that it does, and how might independence take particular forms. To respond to such issues, semi-structured interviews with 15 individuals of the ages of 18 and above who are involved with the scene, supplemented with participant observation at live gigs and relevant textual research were conducted in between 2017 and 2019. Additionally, online social media profiles of influential artists and institutions integral to this scene were analysed. The study finds that accumulated economic resources, musical literacies, social networks, and experience associated with long-term and recurrent involvement with music-related work are crucial factors in the ways participants fashion cultural practices based around aesthetic independence. Members of this scene position themselves through particular configurations of resources, strategies and economic exchanges, which allow them to both construct their living and practice aesthetic independence through passion projects of creative experimentations within a sustainable milieu in ways that would be difficult while following imperatives of mainstream music markets.
2
Luvaas, Brent Adam. "Generation DIY youth, class, and the culture of indie production in digital-age Indonesia /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835632681&sid=3&Fmt=2&clientId=1564&RQT=309&VName=PQD.
3
Jessee, Nathan. "Alternative Literacies, Resistance, and Spatial Representations in The Do-It-Yourself (DIY) Culture of Zine Publication in New Orleans." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1223.
Анотація:
Zines are small circulation media that amateurs make and distribute. Inspired by both the lack of ethnographic research on the do-it-yourself (DIY) culture of zine-making in urban studies and the growing interest in ethnographically oriented research in literacy studies, rhetoric, and linguistics this research explores the people, places, and practices behind zine publication in New Orleans, Louisiana through participant observation at two specialized loci—the Iron Rail and punk shows—as well as semi-structured interviews with people who make, distribute, and consume zines. This research argues that zine-makers use zines to reinterpret urban space in search of an authentic relationship with the city. They then share these interpretations with others who participate in DIY punk culture. In doing so, zine-makers refuse conventional rules developed for classroom literacy and resist capitalism in their zines' content and in their methods of publishing by both building on local knowledge and opposing corporate media.
4
Benhaïm, Sarah. "Aux marges du bruit. Une étude de la musique noise et du Do it Yourself." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH140/document.
Анотація:
Objet d’un intérêt tardif dans la recherche universitaire, la musique noise représente pourtant une forme d’art emblématique de l’underground sonore. Elle porte et cristallise une approche radicale en faisant du bruit sa matière, en se jouant de la forme et du développement, en hybridant ses territoires stylistiques. Les pratiques de jeu ne signent plus la suprématie de l’instrument ni de la composition, mais se placent sous le régime d’une expérimentation ludique et bricoleuse. On n’évalue plus la qualité musicale selon le niveau de compétence technique de l’artiste, tandis que les modalités d’écoute sollicitent de manière spécifique le corps et l’environnement. Les pratiques de production, d’organisation et de diffusion de la musique, empruntes de l’éthos du Do it Yourself (DIY) placent l’autonomie, la polyvalence et l’amateurisme au cœur de ce monde de l’art. A partir d’une approche interdisciplinaire marquée par la musicologie, l’esthétique et les sciences sociales, cette thèse entend questionner, à partir d’analyses musicales, d’archives de presse, d’enquêtes, de cartographies et d’une ethnographie menée au sein de la scène parisienne, comment la musique noise et les pratiques sociales qui l’accompagnent nous interrogent sur nos manières conventionnelles d’appréhender ce qu’est la musique et même une « bonne » musique, la figure du musicien, les intermédiaires artistiques ou la scène du concert, au regard de ce qui semble sans doute constituer un nouveau paradigme contemporain de l’expérimentationAlthough noise music has only recently become an object of interest for academic research, it still represents a form of art emblematic of the underground music scene. It is characterized by a radical approach which implies using noise as work material, playing with form and development, and hybridizing its stylistic territories. This approach is reflected by playing practices in which the emphasis is no longer laid on the supremacy of instruments and composition, but rather on playful and makeshift experimentation. Musical quality is not assessed on the artist’s technical skills anymore, while the listening conditions call for a specific implication of both body and environment. The practices of production, organization, and diffusion of music, borrowing from the éthos of DIY, place autonomy, versatility, and amateurism at the heart of this art world. This PhD research, based on musical analyses, press archives, field surveys, topographies, and an ethnographic study of the Parisian scene, proposes an interdisciplinary approach marked by musicology, aesthetics, and social sciences. Its aim is to question the way noise music and its specific social practices challenge the manner in which we conventionally apprehend what we consider as music, and even “good” music, the image of the musician, the artistic intermediaries or the stage, in light of what seems to constitute a new contemporary paradigm of experimentation
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Howe, Christopher David. "Analog synthesizers in the classroom: How creative play, musical composition, and project-based learning can enhance STEM standard literacy and self-efficacy." Thesis, Georgia Institute of Technology, 2015. http://hdl.handle.net/1853/53614.
Анотація:
The state of STEM education in America's high schools is currently in flux, with billions annually being poured into the NSF to increase national STEM literacy. Hands-on project-based learning interventions in the STEM classroom are ubiquitous but tend to focus on robotics or competition based curriculums. These curricula do not address musical creativity or cultural relevancy to reach under-represented or disinterested groups. By utilizing an analog synthesizer for STEM learning standards this research aims to engage students that may otherwise lack confidence in the field. By incorporating the Maker Movement, a STEAM architecture, and culturally relevant musical examples, this study’s goal to build both self-efficacy and literacy in STEM within under-represented groups through hands-on exercises with a Moog analog synthesizer, specifically the Moog Werkstatt.
A quasi-experimental one-group pre-test/post-test design was crafted to determine study validity, and has been implemented in three separate studies. Several age demographics were selected across a variety of classroom models and teaching style. The purpose of this wide net was to explore where a tool like the Werkstatt and its accompanying curriculum would have the biggest impact. Results show that this curriculum and technique are largely ineffective in an inverted Music elective classroom. However, in the STEM classroom, literacy and confidence were built across genders, with females showing greater increases in engineering confidence and music technology interest than their male counterparts.
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Peters, Sean (Sean Louis). "Listening in the Living Room: The Pursuit of Authentic Spaces and Sounds in Dallas/Fort Worth (DFW) Do-It-Yourself (DIY) Punk Rock." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062889/.
Анотація:
In the Dallas/Fort Worth (DFW) do-it-yourself (DIY) punk scene, participants attempt to adhere to notions of authenticity that dictate whether a band, record label, performance venue, or individual are in compliance with punk philosophy. These guiding principles champion individual expression, contributions to one's community (scene), independence from the mainstream music industry and consumerism, and the celebration of amateurism and the idea that everyone should "do it yourself." While each city or scene has its own punk culture, participants draw on their perceptions of the historic legacy of punk and on experiences with contemporaries from around the world. For this thesis, I emphasize the significance of performance spaces and the sonic aesthetic of the music in enacting and reinforcing notions of punk authenticity. The live performance of music is perceived as the most authentic setting for punk music, and bands go to great lengths to recreate this soundscape in the recording studio. Bands achieve this sense of liveness by recording as a group, rather than individually for a polished studio sound mix, or by inviting friends and fans into the studio to help record a live show experience. House venues have been key to the development of the DFW scene with an emphasis on individual participation through hosting concerts in their homes. This creates a stronger sense of community in DIY punk performance. Through participation observation, interviews, analysis of source materials, as well as research in previous Punk scholarship, questions of authenticity, consumerism, and technology and sound studies, this thesis updates work on the experience of sound, listening, and the importance of space in DIY punk communities today.
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Ligot, Damien. "Trans-musicalité « taike » : Distinction d’une nouvelle « taiwanité » au sein d'un underground local (1990-2010)." Thesis, Lyon 3, 2012. http://www.theses.fr/2012LYO30022/document.
Анотація:
Dans les années 1990 et 2000, la scène musicale underground taiwanaise a vu naître successivement le Taik – ou Rock Taike 台客搖滾 taike yaogun – puis le Taiwan Traditional Rap, ou 台灣味唸歌 Taiwan wei niange. Ces courants « trans-musicaux » se rejoignent sur de nombreux points tels que la revendication de « traditions » populaires locales, accompagnée cependant d'une forte complaisance au métissage culturel, et par-dessus tout d'un besoin de se définir – de s'identifier – en dehors des clichés aliénants du bon-goût, dictés de manière hégémonique par la culture « dominante » centrée depuis la fin des années 1940 sur le modèle de la République de Chine. Appuyée par un travail de terrain réalisé entre 2005 et 2010 selon les principes de l'observation participante, et pensée à la lumière des cultural studies et d'ouvrages d'auteurs tels que Dick Hebdige et Stuart Hall, cette thèse propose une approche « sensible » d'une sous-culture particulière, tempérée d'autre part par une critique des théories développées par Pierre Bourdieu dans La Distinction, Critique sociale du jugement. Elle tente ainsi – au travers du prisme trans-musical – de définir la place occupée par la sous-culture locale « Taike » dans l'histoire globale d'autres sous-cultures comparables, et s'impose alors en contexte tel un trait d'union entre Taiwan et le reste du mondeIn the 1990's and 2000's, the underground music scene in Taiwan successively gave birth to the Taik – also called Taike Rock 台客搖滾 taike yaogun – then to Taiwan Traditional Rap 台灣味唸歌 Taiwan wei niange. These "trans-musical" currents are similar in many issues such as the claim to local folk traditions, accompanied however by accomodating a strong cultural mix and by a need to define – to identify – themselves outside the alienating good taste, so dictated since the late 1940's by the hegemonic "dominant" culture focused along the lines of the Republic of China. This thesis proposes a ''sensitive'' approach to a particular subculture, furthermore tempered by a critique of theories developed by Pierre Bourdieu in Distinction: A Social Critique of the Judgment of Taste. It has been backed up by field studies conducted between 2005 and 2010 according to the principles of the participant-observer and trends of thought enlightened by cultural studies and works of authors such as Dick Hebdige and Stuart Hall. It attempts also – through the prism of trans-musicality – to define the place of the local "Taike" subculture in the global history of other comparable subcultures, as an essentiel link between Taiwan and the rest of the world
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Andersson, Pär. "Digital Fabrication and Open Concepts : An emergent paradigm of consumer electronics production." Thesis, Umeå universitet, Institutionen för informatik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-104994.
Анотація:
Open Source och relaterade mjukvarukoncept och utvecklingsmodeller är vid det här laget allmänt bekanta och har varit föremål för många studier. Open Source Hardware är mindre spritt och studerat, och så även emergent teknologi som för in traditionellt industriella tekniker som 3D-printing, laserskärare, och CAD-baserade produktionsverktyg i mindre skala i hem- och hobbymiljöer. Dessa ämnen har främst studerats ur mer renodlat tekniska perspektiv, snarare än att sättas i samband i en vidare kontext. Denna kombinerar internet som infrastruktur och socialt medium för kunskaps- och resursdelning; open source-koncept; de möjligheter som tillgängligheten av mer och mer kapabel och överkomlig hårdvara byggd på öppen design bereder; och andra relaterade socio-tekniska fenomen vilka börjat framträda de senaste 5-10 åren. I denna uppsats undersöker jag denna större kontext. Uppsatsen har utförts i form av en litteraturstudie av existerande forskning inom ovanstående diskreta områden, och i den mån de finns även dess inbördes relationer. Denna kontext framträder som ett emergent paradigm kring produktion av hemelektronik, och även som exemplifierande trenden av teknologins fortsatta intåg som allestädes närvarande i våra liv och vår omgivning. Resultaten indikerar en gryende förändring i hur vi interagerar med teknik, vilka som gör det och varför, i vilka kontexter, och ett framträdande av en ny ekonomi. Jag visar på att ytterligare forskning behövs, och att perspektivet bör flyttas från att analyseras enbart i diskreta termer som teknik, open source-principer, DIY et cetera, utan även till vad som framstår som resultatet där dessa konvergerar, den naturliga konsekvensen av ett folkligt anammande av denna teknik och open source-koncept.
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Kaewpanukrangsi, Nuanphan. "Creative-Up-Cycling." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21543.
Анотація:
The project elaborates design opportunities for a future practice that could promotealternative sustainable lifestyles on waste handling through up-cycling activities. It doesthis on a small scale through engagement in the local communities of the Hildaneighborhood and Segepark students’ accommodations in Sweden. To thesecommunities, creative-up-cycling is explored which it introduced here as an approachwhere neighbors can participate in making new things from leftover materials. Throughthis work creative-up-cycling is a proposed recommendation for a possible service systemon how to share the leftover materials in the local resident’s communities, as well as, howto remake the items no longer needed.The empirical studies explore maker culture lifestyles and include how to find leftovermaterials, tools, space, and skills in order to guide people in creative-up-cyclingalternatives. These creative activities also build social relationship via the integration ofmultidisciplinary citizens who are living in the same community and explorations weredone on how could we elicit the skill sets from those people? What is a useful skill set inthis area today? Values like mutual physical experience, reciprocity, and ownership couldalso be found along the empirical workshops in this project. Additionally, this reportshows some interesting findings pointing towards the design process and the suggestionsof design elements; ‘Co-storage’, ‘Mix and Match furniture shop’, and ‘Renovation andup-cycling’ concept elements.Participatory design (designing with people) has been the core approach in this project.Additionally, I have been influenced by user-centered design, as well as service designapproaches in order to comprehend the services, system and activities of recycling andup-cycling in cities like: SYSAV, STPLN, Cykelköket, Återskapa, Toolpool. The findingpresented here are examples of practices that could make up the composition of recyclingand up-cycling activities in future local communities.
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Messey, Orlane. ""C’est du sport, tu t’attendais à quoi ?". D'un entre-soi permissif à un sport inclusif : le cas du roller derby français." Electronic Thesis or Diss., Bourgogne Franche-Comté, 2024. http://www.theses.fr/2024UBFCC001.
Анотація:
Le roller derby est une discipline sportive américaine, apparue en France en 2009. Sa diffusion en Europe est notamment liée au film Bliss qui contribue à la popularisation de cet ancien sport, recréé en 2001 aux abords des milieux musicaux alternatifs du Texas. Le roller derby s’implante en France à partir d’un modèle de pratique carnavalesque, à travers lequel les équipes se plaisent à détourner les codes du sport mainstream. De plus, celles-ci tendent à s’organiser initialement autour de la logique punk do it yourself (DIY), qui consistent à refuser les logiques capitalistes en privilégiant l’autogestion. Dix ans après l’apparition de cette pratique en France, ce travail de thèse en sciences du sport entend comprendre la structuration du roller derby face au modèle sportif « traditionnel », mainstream. À partir d’une approche sociologique et ethnographique, il s’agit d’interroger la manière dont le roller derby français parvient à se structurer en dehors des cadres dominants. Le constat d’une euphémisation évidente des marqueurs subversifs et l’adoption des codes du milieu sportif fédéral suggèrent l’inscription dans la pratique dans un processus de sportivisation. Pourtant, celle-ci n’est pas ici synonyme d’une récupération par les instances sportives. Cette normalisation de la pratique prend place, au contraire, au sein même des équipes. En mobilisant les cadres de l’interactionnisme symbolique, cette recherche met en lumière le rôle joué par les actrices de la pratique au cours de cette sportivisation et les manières dont celle-ci négocient un cadre de pratique articulé entre détournement et appropriation du modèle sportif dominant. L’enjeu principal est ainsi de montrer le passage d’une pratique dite « permissive » à un sport « inclusif ». Si les joueuses défendent aujourd’hui leur place sur les terrains du sport mainstream, l’affichage d’une inclusion des minorités de genre s’est progressivement substitué aux marqueurs – carnavalesques – de subversion des codes sportifs. À mesure que les équipes quittent les « marges » du sport pour investir ses institutions, la subversion laisse place à l’inclusion, comme un ultime insigne de distance vis-à-vis du centre du milieu sportif. Néanmoins, des équipes continuent de résister au poids du modèle compétitif. À celles qui s’emparent de nouveau du DIY comme d’un moyen d’organiser autrement la pratique sportive (sans hiérarchie, de manière horizontale), d’autres choisissent de privilégier le folklore comme mode de résistance à l’homogénéisation de la pratiqueRoller derby is an American sports discipline that emerged in France in 2009. Its spread in Europe is notably linked to the film Bliss, which contributes to the popularization of this ancient sport, recreated in 2001 in the alternative music scenes of Texas. Roller derby establishes itself in France based on a carnival and permissive practice model through which the teams hijacked the mainstream sport. Furthermore, teams initially organized around the punk do-it-yourself (DIY) logic, which involved rejecting capitalist logic and favoring self-management. Ten years after the emergence of this practice in France, this sports science thesis aims to understand the structuring of roller derby in relation to the "traditional," mainstream sports model. Using a sociological and ethnographic approach, the aim is to examine how French roller derby managed to structure itself outside dominant frameworks. The observation of an obvious euphemization of subversive markers and the adoption of codes from the federal sports environment suggest the incorporation of the practice into a sportification process. However, this is not synonymous with a takeover by sports authorities here. On the contrary, this normalization of practice takes place within the teams themselves. By mobilizing symbolic interactionism frameworks, this research highlights the role played by the female practitioners during this sportsification and how they negotiate a practice framework articulated between the diversion and appropriation of the dominant sports model. The main challenge is to show the transition from a so-called "permissive" practice to an "inclusive" sport. While female players now defend their place on mainstream sports fields, the display of inclusion of gender minorities has gradually replaced the carnivalesque markers of subversion of sports codes. As teams are leaving the margins of the sport to enter its institutions, subversion gives way to inclusion, as a final marker of distance from the core of the sports environment. Nevertheless, some teams continue to resist the pressure of the competitive model. Some embrace DIY as a means of organizing sports practice differently (without hierarchy, but horizontally), while others choose to prioritize folklore as a mode of resistance to the homogenization of practice
Книги з теми "DIY culture":
1
Spencer, Amy. DIY: The rise of lo-fi culture. London: Marion Boyars, 2005.
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Spencer, Amy. DIY: The rise of lo-fi culture. 2nd ed. London: Marion Boyars, 2008.
3
Jacobs, Katrien. Netporn: DIY web culture and sexual politics. Lanham, MA: Rowman & Littlefield, 2008.
4
1960-, McKay George, ed. DiY culture: Party & protest in Nineties Britain. London: Verso, 1998.
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Ben-Ari, Hadass S. Fallopian Falafel: DIY or Die! Jerusalem, Israel: Daily H Publications, 2010.
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Michele, Knobel, and Lankshear Colin, eds. DIY media: Digital literacies and learning through popular culture production. New York: Peter Lang, 2010.
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Wrekk, Alex, Nicole Introvert, and Sugene Mine. Stolen Sharpie Revolution 2: A Diy Resource for Zines and Zine Culture. Oakland, USA: Brand: Lunchroom Publishing, 2009.
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Brass, Elaine. Gathering force: DIY culture : radical action for those tired of waiting. London: Big Issue Writers, 1997.
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Wrekk, Alex. Stolen sharpie revolution: A DIY resource for zines and zine culture. 6th ed. Portland, Oregon: Lunchroom Publishing / Silver Sprocket, 2022.
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Gauntlett, David. Making is connecting: The social meaning of creativity from DIY and knitting to YouTube and Web 2.0. Cambridge, UK: Polity Press, 2011.
Частини книг з теми "DIY culture":
1
Kanai, Akane. "DIY Culture." In Keywords in Remix Studies, 125–34. New York : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315516417-12.
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Redman, Lena. "DIY Creativity: Culture of Self-Sufficiency." In Knowing with New Media, 167–93. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-1361-5_8.
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Benhaïm, Sarah. "Noise records as noise culture." In DIY Cultures and Underground Music Scenes, 112–24. Abingdon, Oxon ; New York : Routledge, 2019. | Series: Routledge advances in sociology: Routledge, 2018. http://dx.doi.org/10.4324/9781315226507-11.
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Becuț, Anda Georgiana. "Between popular and underground culture." In DIY Cultures and Underground Music Scenes, 41–51. Abingdon, Oxon ; New York : Routledge, 2019. | Series: Routledge advances in sociology: Routledge, 2018. http://dx.doi.org/10.4324/9781315226507-5.
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Bustad, Jacob J., and Oliver J. C. Rick. "Downhill MTB, digital media, and DIY urbanism." In Mountain Biking, Culture and Society, 113–24. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003361626-11.
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Bennett, Andy, and Paula Guerra. "Rethinking DIY culture in a post-industrial and global context." In DIY Cultures and Underground Music Scenes, 7–18. Abingdon, Oxon ; New York : Routledge, 2019. | Series: Routledge advances in sociology: Routledge, 2018. http://dx.doi.org/10.4324/9781315226507-2.
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Donaghey, Jim, and Jian Xiao. "A Comparison Between Indonesian and Chinese Punks: Resistance, Hangouts, and DIY." In Punk Culture in Contemporary China, 155–76. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0977-9_7.
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Myzelev, Alla. "Fashion and the DIY culture of textiles during the Art Deco period." In The Routledge Companion to Art Deco, 194–212. New York: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429032165-11.
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Grewe-Salfeld, Mirjam. "4 With my Own two Hands - Tracing DIY from Individualism to Maker Culture." In Biohacking, Bodies and Do-It-Yourself, 97–126. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839460047-005.
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Ferris, Eric. "Culture of Conformism (Culture … To Be Cultured)." In The (Dis)Order of U.S. Schooling, 118–61. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003375203-6.
Тези доповідей конференцій з теми "DIY culture":
1
Farikha, Alfi Yusrina. "The Existence of Indonesian Craft in the Middle of DiY Craft Movement by Millennial Community." In 4th International Conference on Arts Language and Culture (ICALC 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200323.060.
2
Hertz, Garnet. "Arduino Microcontrollers and The Queen’s Hamlet: Utilitarian and Hedonized DIY Practices in Contemporary Electronic Culture." In ACADIA 2011: Integration Through Computation. ACADIA, 2011. http://dx.doi.org/10.52842/conf.acadia.2011.044.
3
Tuan Nguyen Thien, Minh, Minh Anh Nguyen Duc, and Kenneth Y T Lim. "Designing for the investigation of microclimate stressors and physiological and neurological responses from the perspective of maker culture." In 10th International Conference on Human Interaction and Emerging Technologies (IHIET 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004042.
Анотація:
The 2021 United Nations Climate Change Conference (COP26) resulted in the Glasgow Climate Pact. Initial work in the study reported in this paper investigated relationships between environment and physiological measurements using smartwatches, and self-designed bespoke environmental modules which are wearable around the waist. Data from this initial phase was analysed with a Random Forest regression model. The next phase of this project involves neurophysiological measurement, specifically electroencephalography (EEG). EEG was introduced to the model to explore how the changes in environmental or biometric measurements correlate with changes in neurophysiological measurements. In this latter phase, EEG data is viewed as an independent data type that is distinct from environmental and other physiological data. The headset model used to record EEG data is again a bespoke hand-made design, comprising a combination of biosensing board and electrodes from OpenBCI and widely available items like adhesive tapes and staples. A subsequent step involved validation of this DIY EEG headset data against research grade equipment, of which the analysis of different features of EEG data have shown to be of statistically comparable trends. For data collection, all data recorded is stored in Google Drive; Python is used to synchronize, pre-process data and train regression models. The first headset prototype was assembled in mid-October 2021, and was tested and developed in early November. From mid-November to late January 2022, the authors wore the devices for one to two hours per day to collect data. For EEG data, eight channels were recorded, basic filters (bandpass and notch) and REST re-referencing are applied. In this project, EEG time-series are used as input in regression models with other data types as output. Two regression models were trained then compared, the first being convolutional neural network with pre-built architecture and the other being a Random Forest model with features extracted from EEG time-series. Inferences are made from the models using open-source interpreters, with an eventual aim to infer how one's local environment might impact one's emotions and health. The results suggest that sound level, carbon dioxide concentration, and dust concentration feature more importantly in the regression models trained on collected datasets. These factors were continually associated with high feature importance scores in the EEG data signal and in both the objective scores recorded from the electronic instruments and the more subjective self-report forms. Furthermore, it was found that visual stimulus and problem processing, in terms of information, touch, and spatial relationships, are the most influential factors affecting the participants' physiological well-being in this research. Most recently, one aspect that is currently being investigated is electrodermal activity (EDA). EDA is marker of sympathetic network activity (Zangróniz et al., 2017). As such, it is an indication of human stress and emotion arousal, (Rahma et al., 2022). It is hoped that analyses of EDA data will further strengthen the emerging model describing the intersections between local microclimate and physiological and neurological stress. Early validation experiments comparing DIY EDA devices against research-grade Empactica E4 sets have shown promising results.
4
Zhou, Jiaxin, and Duoduo Zhang. "Stimulating Everyday Creativity: Mediating Role of New Tools in DIY Craft." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003396.
Анотація:
Everyday creativity has been shown to help people consciously develop themselves, respond to challenges, feel more in control of their destiny, and maintain a healthy state of mind and body. Through creative practices, people's possibility thinking is strengthened, they can adapt to the changes of the environment more flexibly, and actively participate in actions that promote social change. However, the current research on daily creativity mostly regards it as a holistic concept, lacking in depth in specific fields and attention to the characteristics of the current era, which makes it often difficult for designers to find effective ways to promote the benefits of creative activity.This paper focuses on the popularity of contemporary DIY crafts in urban areas and try to understand how the renewal of tools has an impact on everyday creativity. On the one hand, DIY crafts are an important part of everyday creative activities. On the other hand, the application of digital and mechanical tools has injected vitality into the design innovation in this field. Based on the perspective of post-phenomenology theory, this research pays attention to how technological objects affect human perception and behavior patterns in specific situations, and mediate the relationship between people and the world. For designers, the term "technology" in post-phenomenology can be regarded as "designing artifacts", its mediating role can be understood and anticipated, and the "advanced" design method that moralizes technology can help bring users more positive use experience and contribute to a better life world.The study takes the new tufting experience as a case. It is typified by the use of tufting guns, which makes it different from the traditional weaving behavior. Such activities are widely spread on the Internet, attracting large numbers of young people. Using practice-led research and ethnographic methods to collect data and conduct qualitative analysis, the author elaborates that technological interventions not only functionally enhance people's ability, but also shape actions and experiences. According to Ihde’s discussion of four “human-technology-world relations”, in tufting activities, the first embodied relation between tools and participants mobilizes more sensory participation, and the “ready-to-hand” state of the tufting gun brings about a different embodied perception from that of traditional crafts. Secondly, the hermeneutic relation influences people's perception of the difficulty of crafts, and the connection between wool and cloth has been translated into the vibration and sound of the gun. The third is the alterity relation, which represents people's actions and ways of thinking are changed in the interaction with tools. Finally, the background relation makes pop culture permeate into the creative process. In general, participants’ sensory experiences, as well as their ways of seeing and making are reshaped by modern tools, and new experiences and skills are acquired. At the same time, people are encouraged to go beyond the limits of skills and rules for creative exploration and personalized expression.The potential negative aspects of tool upgrading in creative practice are also concerned. For example, the simplification of the process bridges the gap between novice and expert, preventing most participants from reaching a higher level of skills that underlie a more subtle and diverse insight into the world. Moreover, while tools help reduce the occurrence of errors, they also limit the possibilities for creativity. Finally, the article identifies the opportunities and challenges for designers in this new era that encourages everyone to create, and suggests strategies for incorporating the mediating role of artifacts into the design process to help users stimulate their creativity in everyday creative practices.
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NASTAS, Natalia, and Ecaterina LUNGU. "Intercultural professional competence in teaching foreign languages to students from higher education institutions." In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v2.24-25-03-2023.p97-101.
Анотація:
Comunicarea este o parte consistentă în viața noastră de zi cu zi. Termenul este foarte larg. Este folosit într-o varietate de moduri, pentru orice fel de influență exercitată de un sistem asupra altei sau a oricărui tip de acțiune care vizează exprimarea deschisă a gândurilor, sentimentelor sau schimbul de informații. Comunicarea înseamnă influențarea altor persoane prin folosirea semnelor (în sens mai larg) pentru ai face pe ei să înțeleagă mesajul. Comunicarea, astfel, în general necesită doi participanți: un expeditor, adresator, comunicator care transmite (direct sau indirect) și un destinatar, un translator care primește informațiile. Rolurile acestora participanți se alternează în timpul procesului de comunicare. Dobândirea cunoștințelor culturale comune poate fi promovată prin dezvoltarea conștientizării interculturale. Limba însăși este întotdeauna formată dintr-o cultură. A fi competent într-o limbă, presupune înțelegerea culturii care a definit-o. Învățarea unei limbi străine sugerează o conștientizare a culturii și a modului în care cultura vizează propria cultură. Profesorii care încearcă să crească gradul de conștientizare culturală studenților săi, din păcate de cele mai multe ori, trebuie să facă față problemelor cum ar fi lipsa cunoștințelor sistematice ale studenților fie a culturii lor native, fie a culturii țintă, pentru a fi în stare să interpreteze, să analizeze și să tragă concluzii din partea fenomenelor culturale prezentate lor ulterior. Un profesor poate preda până la limită, adică explică, discută și face studenții să înțeleagă diferențele. Cu toate acestea, nu putem rezolva aceste probleme.
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Ji, Nancy Yao. "Renovation Machizukuri in Contemporary Japan: The Cases of Suwa, Kokura and Onomichi." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5026ptoed.
Анотація:
The increasing number of vacant properties is a pressing challenge in Japan today. Depopulated towns and neighbourhoods are experiencing socio-economic decline. In response, citizen groups have carried out diverse activities known as “machizukuri” to improve the quality of life in their communities and living environments. Since the 2000s, machizukuri practices that involve the renovation of vacant building stock came to be known as “renovation machizukuri” (renovation town-making) which emphasizes social engagement through participatory design and do-it-yourself (DIY) building methods. This paper presents examples of renovation machizukuri that have emerged in recent years and are still ongoing in three Japanese cities – Suwa, Kokura and Onomichi. These three case studies shed light on the evolving role of architects and professionals who work together with citizens and volunteers in the sharing of knowledge and resources drawn together through strong social networks both online and offline. They are part of a larger movement in the rise of renovation culture, signifying a new era in contemporary Japanese architecture and town planning.
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Reis de Matos Braz, Patricia. "CULTURA E DESENVOLVIMENTO URBANO NO PORTO. Variações de discursos e de práticas na política municipal recente da cidade." In Seminario Internacional de Investigación en Urbanismo. Universitat Politècnica de Catalunya, Grup de Recerca en Urbanisme, 2024. http://dx.doi.org/10.5821/siiu.12780.
Анотація:
The present paper aims to discuss the relationship between culture and urban development, regarding the cityof Porto as a case study. Considering its recent and irregular history of culture promotion, which has importantreferences since the acknowledgement of the Historic Centre as a UNESCO World Heritage Site, in 1996, thearticle explores political agendas, projects, and achievements, which place culture as strategic for urbandevelopment. From that moment to the present day, Porto has experienced three styles of governance, withdirect effects on the treatment given to the municipality's cultural and heritage policy. The article, therefore,analyses the relationship of the mentioned policies with urban policy, from the variation of discourses andpractices of municipal policy. Keywords: Porto, culture, urban development, municipal policy. O presente trabalho tem como objetivo discutir a relação entre cultura e desenvolvimento urbano, tendo acidade do Porto como estudo de caso. Considerando a sua história recente e irregular de promoção da cultura,que conta com importantes referenciais desde o reconhecimento do Centro Histórico como Património Mundialda UNESCO, em 1996, o artigo explora agendas políticas, projetos e realizações, que situem a cultura comodimensão estratégica para o desenvolvimento urbano. De 1996 até à atualidade, o Porto passou por três estilosde governação, com reflexos diretos na política cultural e patrimonial do município. O artigo analisa a relaçãodas citadas políticas com a política urbana, a partir da variação dos discursos e dos modos de fazer da políticamunicipal. Palavras-chaves: Porto, cultura, desenvolvimento urbano, política municipal.
8
Trinca, Lilia. "Profilul cultural românesc al conceptului de „frică”." In Filologia modernă: realizări şi perspective în context european. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2021. http://dx.doi.org/10.52505/filomod.2021.15.43.
Анотація:
În lingvistica actuală a devenit deja axiomatic faptul că fiecare limbă naturală reflectă un anumit mod de percepție/conceptualizare și creează propria „imagine” a lumii. Modul în care emoţiile îşi găsesc reprezentarea lingvistică oglindește un model/grilă de conceptualizare a experienţei afective specifice unei culturi. Or, aceeaşi emoţie poate fi experimentată diferit în două culturi diferite sau în cadrul aceleiaşi culturi, putând fi, deci, obiectul unor variaţii interculturale şi intra-culturale, diacronice şi diatopice. Ca metodologie de cercetare, pentru relevarea specificului românesc al formelor de manifestare lingvistică a afectelor, în cazul de față FRICĂ, am apelat la date obținute din analiza unităților discursului repetat ‒ proverbe și zicători, frazeologisme, expresii românești – care reprezintă un cod al culturii române, pe baza actualizării lor într-un corpus reprezentativ, care include circa 180 de unități, un set de surse „credibile”, relevante şi reprezentative, care să reflecte emoțiile şi modalităţile de expresie afectivă specifice spaţiului cultural român.
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Kinigama, I. M. M. K., and A. Weerasinghe. "Cultural identity formation through hybridization: dressing under portuguese intervention in Sri Lanka." In Awakening the economy through design innovation. Department of Integrated Design, University of Moratuwa, Sri Lanka, 2023. http://dx.doi.org/10.31705/idr.2023.2.
Анотація:
Through the process of cultural hybridization form a unique identity by mixing elements from interaction of cultures which has occurred throughout the world since the past. Representation of this identity can be understood with the dressing styles of cultures. With the influence of foreign cultures by the exposure throughout history, Sri Lankan culture has formed a unique identity with the hybridization process. The beginning of colonialism with Portuguese intervention and European culture marked a pivotal point in Sri Lanka's cultural identity, which lasted to the present. This study is conducted with the association of hybrid community Portuguese burghers located in Batticaloa and their traditional practices that developed as a result of cultural interaction that occurred during the Portuguese era in the eastern coastal area that has been identified as a cultural exchange zone using the hybrid component identification methodology suggested by Historian Peter Burke in order to analyze the process of hybridity formation and the reasoning behind the cultural identity formation. The study will primarily focus on female dressing associated with the community's Marriage ceremony traditions to understand the dressing and cultural identity formation with hybridization through data gathering methods such as interviews, literature, and visual observation of documents. In order to formulate a conclusion for the research, the study examines the history, traditional practices, cultural influences, and current condition, as well as the discussion of findings. Through a careful analysis of historical context and utilizing the hybridity research method, it was evident that the formation of a unique Sri Lankan cultural identity involved intentional reasoning from the perspective of the Portuguese and oppression and intentionality from the Sri Lankan perspective. This hybrid identity, embracing elements from both Portuguese and Sri Lankan cultures, culminated in the emergence of the Burgher community. However, in the present day, this community faces challenges of counter-globalization and external cultural pressures, pushing them to assert their identity within society. Researchers can expand on the study of cultural hybridity and identity formation through dressing, with a focus on Portuguese intervention. They have the opportunity to investigate the dance practices of the Portuguese Burghers and the African-influenced Kaffir community using the same framework. Alternatively, they can explore other cultures' influence on Sri Lankan culture, utilizing this research's framework to gain deeper insights into the process of cultural hybridization and its impact on identity formation.
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Hartescu, Ioana. "ONE SIZE FITS ALL? – CULTURAL DIVERSITY REFLECTED IN INSTRUCTIONAL DESIGN MODELS." In eLSE 2012. Editura Universitara, 2012. http://dx.doi.org/10.12753/2066-026x-12-080.
Анотація:
Online learning programs have become more accessible to a wide range of learners all over the world. This raises the question whether differences between various groups are taken into consideration in the design of these programs. While new devices and technologies make learning more readily available, ignoring cultural issues can lead to a total breakdown of communication. This study aims to investigate how issues of culture should influence instructional design of online courses. Globalization of education led to a need to consider cultural diversity as an important factor in the adoption and effectiveness of learning. This is enhanced by the fact that e-learning breaks time and space barriers, being available to students from any geographical area, interacting outside the boundaries of a common context. Learners have the opportunity to study anytime, anywhere. Universities are becoming more open to international students; some are setting branch campuses in different parts of the world. Multinational organizations have offices in different countries, staffed with local employees, who need to work in a similar way with their colleagues all over the world. Interdisciplinary teams are required to work together and find a common language. In all cases, instructional designers are creating courses for people from a different culture than their own, and often for heterogeneous audiences coming from a multitude of cultures, each student needing to transfer what they learn into their own context. The paper defines culture, starting from Hofstede’s five dimensions characterizing national cultures (Hofstede, 1996), and argues that in the context of online learning the notion of culture should be extended to include other cultural models, apart from the national one, such as organizational culture and professional groups culture (Schein, 1990). Acknowledging that culture means more than nationality, and individuals often belong to more than one culture (Collis, 1999) helps paint a complex situation which the instructional designer must deal with. Given the complexity of the context presented above, the present study investigates how do models of instructional design take into account cultural diversity, by answering the following research questions: • Should instructional design take into account cultural aspects at all? • Should instructional design strive for a culture-free product? • How can the instructional design model incorporate awareness of cultural issues? • What are the implications for instructional designers and their professional development? A fairly wide range of responses and models are suggested by the literature (and are detailed in the full paper), but the responsibility of choosing and applying them lies with the instructional designer. Since culture is a relatively new concern in the field of instructional design, few of these models were applied in contexts significant enough in order to generate solid recommendations or to indicate an obvious choice. This situation makes the decision of instructional designers even more difficult. The voices of instructional designers are also presented, combining the results of the study did by Rogers, Graham and Mayes (2007) into instructional designers creating courses for students from various national cultures, with the results of a case study research conducted by the author regarding instructional designers working for learners from various organizational and professional cultures. Recommendations into further research connected to the issues identified conclude the paper.
Звіти організацій з теми "DIY culture":
1
Thunø, Mette, and Jan Ifversen. Global Leadership Teams and Cultural Diversity: Exploring how perceptions of culture influence the dynamics of global teams. Aarhus University, October 2018. http://dx.doi.org/10.7146/aul.273.
Анотація:
In the 21st century, business engagements are becoming increasingly global, and global teams are now an established form of organising work in multinational organisations. As a result, managing cultural diver-sity within a global team has become an essential part of ensuring motivation, creativity, innovation and efficiency in today’s business world.Global teams are typically composed of a diversity of experiences, frames of references, competencies, information and, not least, cultural backgrounds. As such, they hold a unique potential for delivering high performance in terms of innovative and creative approaches to global management tasks; however, in-stead of focusing on the potentials of cultural diversity, practitioners and studies of global teams tend to approach cultural diversity as a barrier to team success. This study explores some of the barriers that cultural diversity poses but also discusses its potential to leverage high performance in a global context.Our study highlights the importance of how team leaders and team members perceive ‘culture’ as both a concept and a social practice. We take issue with a notion of culture as a relatively fixed and homogeneous set of values, norms and attitudes shared by people of national communities; it is such a notion of culture that tends to underlie understandings that highlight the irreconcilability of cultural differences.Applying a more dynamic and context-dependent approach to culture as a meaning system that people negotiate and use to interpret the world, this study explores how global leadership teams can best reap the benefits of cultural diversity in relation to specific challenging areas of intercultural team work, such as leadership style, decision making, relationship building, strategy process, and communication styles. Based on a close textual interpretation of 31 semi-structured interviews with members of global leader-ship teams in eight Danish-owned global companies, our study identified different discourses and per-ceptions of culture and cultural diversity. For leaders of the global leadership teams (Danish/European) and other European team members, three understandings of cultural diversity in their global teams were prominent:1)Cultural diversity was not an issue2)Cultural diversity was acknowledged as mainly a liability. Diversities were expressed through adifference in national cultures and could typically be subsumed under a relatively fixed numberof invariable and distinct characteristics.3)Cultural diversity was an asset and expressions of culture had to be observed in the situationand could not simply be derived from prior understandings of cultural differences.A clear result of our study was that those leaders of global teams who drew on discourses of the Asian ‘Other’ adherred to the first two understandings of cultural diversity and preferred leadership styles that were either patriarchal or self-defined as ‘Scandinavian’. Whereas those leaders who drew on discourses of culture as dynamic and negotiated social practices adhered to the third understanding of cultural di-versity and preferred a differentiated and analytical approach to leading their teams.We also focused on the perceptions of team members with a background in the country in which the global teams were co-located. These ‘local’ team members expressed a nuanced and multifaceted perspective on their own cultural background, the national culture of the company, and their own position within the team, which enabled them to easily navigate between essentialist perceptions of culture while maintain-ing a critical stance on the existing cultural hegemonies. They recognised the value of their local knowledge and language proficiency, but, for those local members in teams with a negative or essentialist view of cultural diversity, it was difficult to obtain recognition of their cultural styles and specific, non-local competences. 3Our study suggeststhat the way global team members perceive culture, based on dominant societal dis-courses of culture, significantly affects the understandings of roles and positions in global leadership teams. We found that discourses on culture were used to explain differences and similarities between team members, which profoundly affected the social practicesand dynamics of the global team. We con-clude that only global teams with team leaders who are highly aware of the multiple perspectives at play in different contexts within the team hold the capacity to be alert to cultural diversity and to demonstrate agility in leveraging differences and similarities into inclusive and dynamic team practices.
2
Conklin, David. The traditional and the modern : the history of Japanese food culture in Oregon and how it did and did not integrate with American food culture. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.5670.
3
Plessi, Fabrizio, Celestino Soddu, and Adriano Abbado. digitalyart: An exhibition honoring Italy, Host of the 44th Annual Meeting of the Board of Governors of the Inter-American Development Bank. Inter-American Development Bank, February 2003. http://dx.doi.org/10.18235/0005909.
Анотація:
An exhibition of technological art from Italy, featuring the seminal piece ROMA II by Venetian contemporary master Fabrizio Plessi, with digitally designed architectural projects by Celestino Soddu, and interactive images by Adriano Abbado. Held in honor of Italy and the City of Milan, host of the 44th Annual Meeting of the IDB Board of Governors, the show was organized by the IDB Cultural Center with support from the IDB Information and Communication Technology for Development Division, and cooperation from the Istituto Italiano di Cultura of Washington, D.C.
4
Lee, Aubra L., and Anne F. Gettys. Cultural Resources Survey. Road Alignment Alternatives Sunlight Day Recreational Area, Nimrod Lake, Arkansas. Fort Belvoir, VA: Defense Technical Information Center, October 1986. http://dx.doi.org/10.21236/ada196833.
5
Challenger, Denise. Playin' Mas, Play and Mas | A Pedagogical Journey of Children in Caribana. York University, 2018. http://dx.doi.org/10.25071/10315/41551.
Анотація:
Caribana is a celebration of Caribbean culture heavily based on pre-Lenten Carnival traditions in Trinidad and Tobago. It takes place on Simcoe Day which is the first weekend in August, marking the abolition of slavery in Upper Canada. The first Caribana festival began in 1967 as part of an effort to celebrate Caribbean culture in the city of Toronto. Playin' Mas, Play and Mas is a pedagogical project that explores how to create a photo essay using Scalar and centres on the experiences of children during Caribana in the 1970s through the photographs of Kenn Shah.
6
Miller, James E. Wild Turkeys. U.S. Department of Agriculture, Animal and Plant Health Inspection Service, January 2018. http://dx.doi.org/10.32747/2018.7208751.ws.
Анотація:
Like other bird and mammal species whose populations have been restored through conservation efforts, wild turkeys are treasured by many recreationists and outdoor enthusiasts. Wild turkeys have responded positively to wildlife habitat and population management. In some areas, however, their increased populations have led to increased damage to property and agricultural crops, and threats to human health and safety. Turkeys frequent agricultural fields, pastures, vineyards and orchards, as well as some urban and suburban neighborhoods. Because of this, they may cause damage or mistakenly be blamed for damage. Research has found that despite increases in turkey numbers and complaints, damage is often caused by other mammalian or bird species, not turkeys. In the instances where turkeys did cause damage, it was to specialty crops, vineyards, orchards, hay bales or silage pits during the winter. In cultured crops or gardens where wood chips, pine straw or other bedding materials (mulch) are placed around plants, wild turkeys sometimes scratch or dig up the material and damage plants when searching for food. Wild turkeys are a valuable game species, treasured by recreational hunters and wildlife enthusiasts.
7
Mitchell, Brian G., Amir Neori, Charles Yarish, D. Allen Davis, Tzachi Samocha, and Lior Guttman. The use of aquaculture effluents in spray culture for the production of high protein macroalgae for shrimp aqua-feeds. United States Department of Agriculture, January 2013. http://dx.doi.org/10.32747/2013.7597934.bard.
Анотація:
The FAO has projected a doubling in world demand for seafood during the 21 ed from aquaculture of marine fish and shrimps fed primarily on fishmeal-based aquafeeds. However, current practices of high intensity monoculture of shrimp in coastal ponds and fish in offshore pens have been strongly criticized as being ecologically and socially unsustainable. This view derives from un- checked eutrophication of coastal marine ecosystems from fish farm effluents, and the destruction of coastal estuarine ecosystems by shrimp farm constructions, plus aquaculture’s reliance on wild-caught small fish - which are excellent food for humans, but instead are rendered into fishmeal and fish oil for formulating aquafeeds. Fishmeal-sparing and waste- reduction aquafeeds can only delay the time when fed aquaculture product are priced out of affordability for most consumers. Additionally, replacement of fishmeal protein and fish oil by terrestrial plant sources such as soybean meal and oil directly raises food costs for human communities in developing nations. New formulations incorporating sustainably-produced marine algal proteins and oils are growing in acceptance as viable and practical alternatives. This BARD collaborative research project investigated a sustainable water-sparing spray/drip culture method for producing high-protein marine macrophyte meals for incorporation into marine shrimp and fish diets. The spray culture work was conducted at laboratory-scale in the USA (UCSD-SIO) using selected Gracilariaand Ulvastrains isolated and supplied by UCONN, and outdoors at pilot-scale in Israel (IOLR-NCM) using local strains of Ulvasp., and nitrogen/phosphorus-enriched fish farm effluent to fertilize the spray cultures and produce seaweed biomass and meals containing up to 27% raw protein (dry weight content). Auburn University (USA) in consultation with TAMUS (USA) used the IOLR meals to formulate diets and conduct marine shrimp feeding trials, which resulted in mixed outcomes, indicating further work was needed to chemically identify and remove anti-nutritional elements present in the IOLR-produced seaweed meals.
8
Stumpo, Sergio. The Sustainability of Urban Heritage Preservation: Caso di studio: Siracusa, Italia. Inter-American Development Bank, August 2010. http://dx.doi.org/10.18235/0007766.
Анотація:
La città di Siracusa è situata nella parte sud est della Sicilia, isola a sud dell'Italia. E' capoluogo di provincia e confina a nord con la provincia di Catania ed a ovest con la provincia di Ragusa. Catania rappresenta un polo industriale ed economico molto avanzato mentre Ragusa è una realtà culturale archeologica di grande pregio storico.
9
Blaxter, Tamsin, and Tara Garnett. Primed for power: a short cultural history of protein. TABLE, November 2022. http://dx.doi.org/10.56661/ba271ef5.
Анотація:
Protein has a singularly prominent place in discussions about food. It symbolises fitness, strength and masculinity, motherhood and care. It is the preferred macronutrient of affluence and education, the mark of a conscientious diet in wealthy countries and of wealth and success elsewhere. Through its association with livestock it stands for pastoral beauty and tradition. It is the high-tech food of science fiction, and in discussions of changing agricultural systems it is the pivotal nutrient around which good and bad futures revolve. There is no denying that we need protein and that engaging with how we produce and consume it is a crucial part of our response to the environmental crises. But discussions of these issues are affected by their cultural context—shaped by the power of protein. Given this, we argue that it is vital to map that cultural power and understand its origins. This paper explores the history of nutritional science and international development in the Global North with a focus on describing how protein gained its cultural meanings. Starting in the first half of the 19th century and running until the mid-1970s, it covers two previous periods when protein rose to singular prominence in food discourse: in the nutritional science of the late-19th century, and in international development in the post-war era. Many parallels emerge, both between these two eras and in comparison with the present day. We hope that this will help to illuminate where and why the symbolism and story of protein outpace the science—and so feed more nuanced dialogue about the future of food.
10
Zhytaryuk, Maryan. UKRAINIAN JOURNALISM IN GREAT BRITAIN. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11115.
Анотація:
Professor M. Zhytaryuk’s review is about a book scientific novelty – a monograph by Professor M. Tymoshyk «Ukrainian journalism in the diaspora: Great Britain. Monograph. K.: Our culture and science, 2020. 500 p. – il., Them. pok., resume English, German, Polish.». Well-known scientist and journalism critic, Professor M. S. Tymoshyk, wrote a thorough work, which, in terms of content, is a combination of a monograph, a textbook and a scientific essay. This book can be useful for both students and practicing journalists or anyone interested in the history of the Ukrainian diaspora, Ukrainian journalism and Ukrainian culture. The author dedicated his work to Stepan Yarmus from Winnipeg, Canada – archpriest, journalist, editor, professor. As the epigraph to the book were taken the words of Ivan Bagryany: «Our press, born under the sword of Damocles of repatriation», not only survived and survived to this day, but also showed a brilliant ability to grow and develop. It was shown that beggars that had come to the West without money at heart can and know how to act so organized. It was also an example of how a modern «enbolshevist» and «denationalized» by the occupier man person is capable of a combined mass action».