Knot/Knotting Practice in Craft and Space

Knot/knotting Practice in Craft and Space is a three part research-creation project that used a study of knotting techniques to locate craft in an expanded field of spatial practice. The first part consisted of practical, studio based exercises in which I worked with various natural and synthetic fibres to learn common knotting techniques. The second part was an art historical study that combined craft and architecture history with critical theory related to the social production of space. The third part was an exhibition of drawing and knotted objects titled Opening Closures. This document unifies the lines inquiry that define my project. The first chapter presents the art historical justification for knotting to be understood as a spatial practice. Nineteenth-century German architect and theorist Gottfried Semper’s idea that architectural form is derived from four basic material practices allies craft and architecture in my project and is the point of departure from which I make my argument. In the second chapter, to consider the methodological concerns of research-creation as a form of knowledge production and dissemination, I adopt the format of an instruction manual to conduct an analysis of knot types and to provide instructions for the production of several common knots. In the third chapter, I address the formal and conceptual underpinnings of each artwork presented in my exhibition. I conclude with a proposal for an expanded field of spatial practice by adapting art critic and theorist Rosalind Krauss’s well-known framework for assessing sculpture in 1960s.

Relatório de estágio em Ensino do 1.º Ciclo do Ensino Básico

Relatório EPE - Relatório de estágio em Educação Pré-Escolar: O presente relatório foi realizado no âmbito da unidade curricular Prática Pedagógica Supervisionada, inserida no Mestrado em Educação Pré-Escolar e Ensino do 1.º Ciclo do Ensino Básico, da Escola Superior de Educação do Porto, durante o ano letivo 2013/2014, atribuindo qualificação profissional no contexto de pré-escolar. Este documento pretende descrever e analisar o percurso formativo desenvolvido pela mestranda ao longo da sua prática pedagógica supervisionada, numa perspetiva reflexiva sobre a construção dos saberes profissionais para a Educação. Este percurso formativo comprometeu uma atitude investigativa, bem como a mobilização de saberes científicos e legais por forma a articular as vertentes de teoria e prática, perspetivando uma construção integrada dos saberes. A prática pedagógica foi sustentada numa perspetiva construtivista, atribuindo um papel ativo à criança na construção das suas aprendizagens. Esta baseou-se num trabalho de equipa cooperativo, o qual se concretiza através do debate e da partilha de ideias, entre os vários intervenientes da ação, como meio para a transformação da realidade educativa. Ao longo da prática foi, ainda, atribuído um papel fundamental à observação do contexto, sendo esta essencial para a compreensão e conhecimento pleno da criança. Em suma, todo o percurso formativo no qual está englobado a prática pedagógica, levou a uma problematização das questões emergentes da prática, desenvolvendo uma atitude indagadora e reflexiva. Apesar da significante contribuição para a aquisição de competências pessoais e profissionais, o percurso formativo deve ser assumido como uma construção contínua, fundamentado num princípio da aprendizagem ao longo da vida.

Biomass decomposition and nutrient release from black oat and hairy vetch residues deposited in a vineyard

A significant quantity of nutrients in vineyards may return to the soil each year through decomposition of residues from cover plants. This study aimed to evaluate biomass decomposition and nutrient release from residues of black oats and hairy vetch deposited in the vines rows, with and without plastic shelter, and in the between-row areas throughout the vegetative and productive cycle of the plants. The study was conducted in a commercial vineyard in Bento Gonçalves, RS, Brazil, from October 2008 to February 2009. Black oat (Avena strigosa) and hairy vetch (Vicia villosa) residues were collected, subjected to chemical (C, N, P, K, Ca, and Mg) and biochemical (cellulose - Cel, hemicellulose - Hem, and lignin - Lig content) analyses, and placed in litter bags, which were deposited in vines rows without plastic shelter (VPRWS), in vines rows with plastic shelter (VPRS), and in the between-row areas (BR). We collected the residues at 0, 33, 58, 76, and 110 days after deposition of the litter bags, prepared the material, and subjected it to analysis of total N, P, K, Ca, and Mg content. The VPRS contained the largest quantities and percentages of dry matter and residual nutrients (except for Ca) in black oat residues from October to February, which coincides with the period from flowering up to grape harvest. This practice led to greater protection of the soil surface, avoiding surface runoff of the solution derived from between the rows, but it retarded nutrient cycling. The rate of biomass decomposition and nutrient release from hairy vetch residues from October to February was not affected by the position of deposition of the residues in the vineyard, which may especially be attributed to the lower values of the C/N and Lig/N ratios. Regardless of the type of residue, black oat or hairy vetch, the greatest decomposition and nutrient release mainly occurred up to 33 days after deposition of the residues on the soil surface, which coincided with the flowering of the grapevines, which is one of the phenological stages of greatest demand for nutrients.

Le poids de l’oiseau sur la vitre ; suivi de L’hétérogénéité graphique dans Blankets de Craig Thompson

Le mémoire original s'accompagnait en annexe du livre-objet Le poids de l'oiseau sur la vitre.

L'effet de l'entrainement avec le ballon d'exercice pendant la grossesse sur l'accouchement.

Résumé Introduction : L’entrainement avec le ballon d’exercice pendant la grossesse a des effets positifs sur le déroulement de l’accouchement. Le but de l’étude était d’identifier si une association existe entre le volume d’entrainement avec le ballon d’exercice durant la grossesse en milieu naturel sur l’issue du déroulement de l’accouchement, soit la durée des phases 1 (dilatation/phase active) et 2 (expulsion), ainsi que l’usage de la péridurale et de la césarienne. Méthode: Cette étude quasi-expérimentale a été menée auprès d'un échantillon de convenance composée de 32 femmes enceintes qui ont pris part entre un et 28 cours d'exercice supervisé durant la grossesse (programme Ballon Forme), avec la possibilité d'effectuer des exercices supplémentaires à la maison avec le ballon d’exercice. Un questionnaire et un journal de bord ont été remplis par les participantes, avec l'aide d'une infirmière de l’hôpital pour les données médicales. Résultats: Un volume d’entrainement élevé, incluant l’entraînement sous forme de cours et à domicile, a été significativement associé à une durée plus courte d’accouchement, que ce soit pour le temps total de l’accouchement (r = -0,408, p = 0,031) ou pour les deux phases spécifiques de l’accouchement [la phase 1: r = -0,372 ; p = 0,043 et la phase 2: r = -0,415, p = 0,028]. Un volume d’entrainement élevé a aussi été lié à une réduction de la deuxième phase chez les femmes qui donnaient naissance pour la première fois. La durée totale des exercices exécutés lors des cours a été significativement associée à cette réduction comparativement aux exercices à la maison. Aucun effet indésirable n'a été observé avec le volume d’entrainement élevé sur les paramètres de l’accouchement et la santé du bébé (Apgar et poids du bébé à la naissance). En fait, un nombre très faible de césarienne (6%), de recours à la péridurale (47%) et d'extraction instrumentale (forceps ou ventouse: 13%) a été observé dans notre échantillon de femmes. Conclusion: La pratique du ballon d’exercice est une avenue prometteuse pour les femmes enceintes et un niveau élevé d’entraînement est associé à un accouchement plus rapide et sans complications pour le bébé. L’implantation de ce programme pourrait éventuellement contribuer à réduire considérablement les coûts de santé au Québec en favorisant l’accouchement naturel. Des interventions et des recherches ultérieures devront considérer et examiner cette modalité spécifique d’entrainement pour les femmes enceintes.

Untitled (Abstraction of labour time eternal recurrence monad)

An AHRC funded project titled: Picturing ideas? Visualising and Synthesising Ideas as art (2009-10). Outputs including: 4 exhibitions; 4 publications; 3 papers; 2 largescale backlit digital prints; 1 commissioned print. (See Additional Information) ----ABSTRACT: Utilising the virtuality of digital imagery this practice-led project explored the possibility of the cross-articulation between text and image and the bridging or synthesising potential of the visual affect of ideas. A series of digital images were produced 'picturing' or 'visualising' philosophical ideas derived from the writings of the philosopher Giles Deleuze, as remodellings of pre-existing philosophical ideas; developed through dialogues and consultation with specialists in the fields from which the ideas were drawn (philosophy, psychology, film) as well as artists and theorists concerned with ideas of 'mental imagery' and visualisation. Final images were produced as a synthesis (or combination) of these visualisations and presented in the format of large scale, backlit digital prints at a series of prestigious international exhibitions (see details above). Evaluation took the form of a four page illustrated text in Frieze magazine (August 2009) and three papers delivered at University of Ulster, Goldsmiths College of Art and Loughborough University. The project also included the publication of a catalogue essay (EAST 09) and an illustrated poem (in the Dark Monarch publication). A print version of the image was commissioned by Invisible Exports Gallery, New York and subsequently exhibited in The Devos Art Museum, School of Art & Design at Northern Michigan University and in a publication edited by Cedar Lewisohn for Tate Publishing. The project was funded by an AHRC practice-led grant (17K) and Arts Council of England award (1.5K). The outputs, including high profile, publicly accessible exhibitions, prestigious publications and conference papers ensured the dissemination of the research to a wide range of audiences, including scholars/researchers across the arts and humanities engaged in practice-based and interdisciplinary theoretical work (in particular in the fields of contemporary art and art theory and those working on the integration of art and theory/philosophy/psychology) but also the wider audience for contemporary art.

Ballet-performing normality in the face of crisis

This paper contextualises the framework and methodology for producing the video performance Ballet, by Szuper Gallery (Susanne Clausen & Pavlo Kerestey), which was initiated through an encounter with an archive of rural information and propaganda films from the Museum of English Rural Life [MERL] in Reading, UK. This project looked at ways of extrapolating filmed gestures from the MERL films to choreograph a large-scale performance film and to consider how this practice-led research could instigate a new way of engaging with and interpreting the MERL film collection. The resulting video was produced in 2009 and was first exhibited at MERL, where it became part of the archive. This was followed by a series of international screenings. I will set out the surrounding research in and around the archive propaganda films, focusing on the performances by rural extras (background actors) in these films, while looking at the way one could understand the relation between a future-past, or tradition and accident in these films (Massumi, 1993). I will pair this with a reflection on the cultural reading of the extras (Didi-Huberman, 2009) and the notion of social choreography (Hewitt, 2005) in this context. I will then lay out reflections on artistic methods for the final performance, a Crash Choreography, based on calculated, but spontaneous encounters.

Collabowrighting the hyper(play)text: a postdramatic digital poetics

The aim of this research is to exhibit how literary playtexts can evoke multisensory trends prevalent in 21st century theatre. In order to do so, it explores a range of practical forms and theoretical contexts for creating participatory, site-specific and immersive theatre. With reference to literary theory, specifically to semiotics, reader-response theory, postmodernism and deconstruction, it attempts to revise dramatic theory established by Aristotle’s Poetics. Considering Gertrude Stein’s essay, Plays (1935), and relevant trends in theatre and performance, shaped by space, technology and the everchanging role of the audience member, a postdramatic poetics emerges from which to analyze the plays of Mac Wellman and Suzan-Lori Parks. Distinguishing the two textual lives of a play as the performance playtext and the literary playtext, it examines the conventions of the printed literary playtext, with reference to models of practice that radicalize the play form, including works by Mabou Mines, The Living Theatre and Fiona Templeton. The arguments of this practice-led Ph.D. developed out of direct engagement with the practice project, which explores the multisensory potential of written language when combined with hypermedia. The written thesis traces the development process of a new play, Rumi High, which is presented digitally as a ‘hyper(play)text,’ accessible through the Internet at www.RumiHigh.org. Here, ‘playwrighting’ practice is expanded spatially, collaboratively and textually. Plays are built, designed and crafted with many layers of meaning that explore both linguistic and graphic modes of poetic expression. The hyper(play)text of Rumi High establishes playwrighting practice as curatorial, where performance and literary playtexts are in a reciprocal relationship. This thesis argues that digital writing and reading spaces enable new approaches to expressing the many languages of performance, while expanding the collaborative network that produces the work. It questions how participatory forms of immersive and site-specific theatre can be presented as interactive literary playtexts, which enable the reader to have a multisensory experience. Through a reflection on process and an evaluation of the practice project, this thesis problematizes notions of authorship and text.

Pattern-based reuse of successful designs: usability ofsafety-critical systems

Users of safety-critical systems are expected to effectively control or monitor complex systems, with errors potentially leading to catastrophe. For such systems, safety is of paramount importance and must be designed into the human-machine interface. While many case studies show how inadequate design practice led to poor safety and usability, concrete guidance on good design practices is scarce. The paper argues that the pattern language paradigm, widely used in the software design community, is a suitable means of documenting appropriate design strategies. We discuss how typical usability-related properties (e.g., flexibility) need some adjustment to be used for assessing safety-critical systems, and document a pattern language, based on corresponding "safety-usability" principles

Film as an archive for colonial photographs: activating the past in the present

This practice-led research looks at the ways in which the colonial archive, and the colonial photographic archive in particular, can be reconstructed to produce new critical histories. The research argues for the potential of the moving image as a tool for re-staging colonial archives, as a means of generating responsible ways of looking at, and of engaging with our troubled collective pasts. In my practice I mix the photographic archive of the Anglo-Iranian Oil Company(which became BP) with my family’s photographs from Iran, and with the documentation and narrativization of my encounter with both of these sets of materials, within the moving image. Through this process I address questions about the nature of the photographic archive and the search for historical meaning within it; the question of the researcher’s position within the archive and within the history she produces; and I investigate the affective power of colonial photographs within film and the experience of untimeliness which they produce. While addressing problems associated with the failure of photographic archives to offer access to any stable, transparent meaning, I show how engaging with slippages of meaning can produce other kinds of historical knowledge. But I also argue that attending to the impression of the ‘real’ produced by the colonial photograph as it appears within film, makes the past felt in the present tense, in ways that draw attention to the responsibility of being an onlooker in a situation of injustice. In addition I show how registering the place and time of the researcher within the new filmic archive in motion produces an effective means of imaginative time travel and a lively experience of history.

Commodification of health care systems: The Catalan case

Commodification of the public healthcare system has been a growing process in recent decades, especially in universal healthcare systems and in high-income countries like Spain.  There are substantial differences in the healthcare systems of each autonomous region of Spain, among which Catalonia is characterized by having a mixed healthcare system with complex partnerships and interactions between the public and private healthcare sectors.  Using a narrative review approach, this article addresses various aspects of the Catalan healthcare system, characterizing the privatization and commodification of health processes in Catalonia from a historical perspective with particular attention to recent legislative changes and austerity measures.  The article approximates, the eventual effects that commodification and austerity measures will have on the health of the population and on the structure, accessibility, effectiveness, equity and quality of healthcare services.

Catalyst: reimagining sustainability with and through fine art

How might we begin to explore the concept of the “sustainable city” in a world often characterized as dynamic, fluid, and contested? Debates about the sustainable city are too often dominated by a technological discourse conducted among professional experts, but this technocratic framing is open to challenge. For some critics, sustainability is a meaningless notion, yet for others its semantic pliability opens up discursive spaces through which to explore interconnections across time, space, and scale. Thus, while enacting sustainability in policy and practice is an arduous task, we can productively ask how cultural imaginations might be stirred and shaken to make sustainability accessible to a wider public who might join the conversation. What role, we ask, can and should the arts play in wider debates about sustainability in the city today? We explore a coproduced artwork in the northeast of England in order to explain how practice-led research methods were put into dialogue with the social sciences to activate new perspectives on the politics, aesthetics, and practices of sustainability. The case is presented to argue that creative material experimentations can be used as an active research inquiry through which ideas can be tested without knowing predefined means or ends. The case shows how such creativity acts as a catalyst to engage a heterogeneous mix of actors in the redefinition of urban spaces, juxtaposing past and present, with the ephemeral and the (seemingly) durable.

You play your part – participatory media and older women.

This chapter will examine participatory and collaborative production strategies that create opportunities for older women to participate in media production. It draws on practice-led research in participatory and community-based media in the Govan area of Glasgow, Scotland. In particular, it examines the production process of a participatory documentary I produced and directed with senior citizens who are members of the Govan Seniors Film Club, based at the Portal Arts Centre in Govan.You Play Your Part is a 20-minute documentary about campaigning women in and around Govan.

Caught in the dance : dream poems, experiential narrative, and the continuity hypothesis

This thesis explores the efficacy of the dream poem as a narrative device and is the outcome of practice-led research. The creative component, a novella, includes significant dreams of the main characters in the form of lyric poetry. The author’s own dream reports are used as source material for the poetry, and are contextualised within a prose fiction framework. Caught in the Dance is an experiment in combining prose with dream poetry and in investigating the experiential power of dreams on the formation of character identity. The exegesis discusses dreaming as an experience and the place of that experience in the context of identity narratives. Central to this discussion is the continuity hypothesis regarding the symbiosis of waking and sleeping life. Fludernik’s theory of experiential narrative is applied to dreaming and to the composition of poetry. This theory moves the emphasis of narrativity from events and the action of telling to ‘grounding narrativity in the representation of experientiality’ (Fludernik 1996:20). Ricoeur’s theories on identity and narrative are also applied to the reading of dreams, and experiences in general. He calls the system through which we ‘read’ life the ‘semantics of action’ (Ricoeur 1991b:28). Fludernik’s and Ricoeur’s approaches build on each other and they are brought together in the context of theories of the self, consciousness, and the processing of experience. Lyric poetry, as a creative product of that same consciousness, is discussed as experienced narrative moment. Furthermore, those moments are identified as defining elements in the identity narratives of characters. By combining the experience of dreaming with the experience imparted through lyric poetry, this thesis argues that the continuity hypothesis serves effectively as a demonstration of the wider narratological importance of experiential narrative.

A obra de Rafael Bordalo Pinheiro

Dissertação de Mestrado para obtenção do grau de Mestre em Design de Moda, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.