Silta yksilöstä yhteisöön : ryhmätyö teatterin tekemisen välineenä

This final thesis focused on experimental knowledge of working in the group. The topic was approached from the perspective of the theatre group director. The thesis itself contains two practical theatre group examples. One is a youngsters' theatre group called La Drama, directed by the author during 2004/2005. The other one is the author's own final artistic production, named Protasio - Kohtaamisia Afrikassa (Protasio - Meeting in Africa), which opened in January 2006. The group leader's role is presented as an important personal tool in theatre, and one that it is important to develop in a professional way. The director's role is to be the promoter of the process, the inspirer and a strong group leader. A person who is in this role will lead the group through the creative process using the community. The thesis identifies and advocates good practice, and ideas of how to create theatre with a group-based method. These analyses can offer useful ideas and knowledge to the beginner in the field of theatre direction.

Ricercando tra i Registri

My final project is to show the development of the language and the style of the double bass and its change of role through different influences. To accomplish this I decided to make an analytic overview of those double bass players that started to use a different and not traditional approach on the instrument. Later, I focused on the bassists and composers who influenced me the most in the latest period of my study career by partly analysing their playing and their composition. Another part of my work was concerned with creating a personal connection with those musicians, who I consider idols of mine. I did this through interviews, to try to understand their creative process on the instrument and in the composition and to deeply comprehend their personal point of view about the evolution of the double bass. At the same time my interest for the compositional aspect was growing together with the necessity to discover my own voice as a musician. Subsequently I made an analysis of my compositions to underline and to get conscious about my personal influences and evolution. Concluding from this, I have created a complete overview and deepened my understanding for the modern approach in Jazz double bass.

Risk perception and emotional coping: a pathway for behavioural addiction?

This article summarizes current concepts of the working memory with regard to its role within emotional coping strategies. In particular, it focuses on the fact that the limited capacity of the working memory to process now-relevant information can be turned into an advantage, when the individual is occupied by dealing with unpleasant emotion. Based on a phenomenon known as dual-task interference (DTI), this emotion can be chased by intense arousal due to clearly identifiable external stressors. Thus, risk perception might be used as a 'DTI inductor' that allows avoidance of unpleasant emotion. Successful mastery of risk adds a highly relevant dopaminergic component to the overall experience. The resulting mechanism of implicit learning may contribute to the development of a behavioural addiction. Besides its putative effects in the development of a behavioural addiction, the use of DTI might be of a more general interest for the clinical practice, especially in the field of psychotherapy. © 2013 S. Karger AG, Basel.

Contribution à la compréhension du rôle de la mémoire de travail visuospatiale et de ses altérations dans la schizophrénie à l'aide d'un nouveau paradigme qui présente des stimuli dynamiques et statiques

Abstract Working memory has been defined as the ability to maintain and manipulate on-line a limited amount of information. A large number of studies have investigated visuospatial working memory in schizophrenia. However, today, the available data concerning the functioning of these processes in schizophrenia are largely controversial. These inconclusive results are due to incomplete knowledge on processes involved in visuospatial working memory tasks. Recent studies suggest that visuospatial working memory processes may be divided into an active monitoring and a storing components. Furthermore, it has been shown that visuospatial working memory processes are strongly interconnected with early encoding processes (perceptual organization). In our view, the two working memory components, and the relationship that they entertain with early encoding processes, may be investigated using dynamic and static visuospatial stimuli in a working memory paradigm. In this thesis we aim at comparing dynamic and static visuospatial working memory processes in patients with schizophrenia and first-episode of psychosis patients. This analysis may clarify the functioning of visuospatial working memory and the dysfunction of these processes in schizophrenia. Our results are in accord with the hypothesis of two visuospatial working memory subcomponents. Dynamic, rather than static, stimuli are strongly involved in the visuospatial working memory encoding process. Indeed, the results are congruent with the idea that static stimuli may be strongly encoded by parallel perceptual organization processes. Patients with schizophrenia show important deficits in both working memory and perceptual organization encoding processes. In contrast, perceptual organization processes seem spared in firstepisodepsychosis patients. Considering our findings, we propose a model to explain the degradation of visuospatial processes involved in a working memory task during schizophrenia. Résumé: La mémoire de travail est définie comme la capacité à maintenir et manipuler « on-line » un nombre limité d'informations pour une courte période de temps (de l'ordre de quelques dizaines de secondes). Un grand nombre d'études a montré que les processus de mémoire de travail visuo spatiale peuvent être affectés dans la schizophrénie. Malgré cela, les données concernant les déficits de ces processus chez des patients qui souffrent de schizophrénie sont contradictoires. La difficulté de comprendre la nature des déficits de mémoire de travail visuospatiale dans la schizophrénie est en grande partie imputable aux connaissances encore lacunaires sur le fonctionnement de ces processus dans un état non pathologique. Dans cette thèse, on cherche à élucider le fonctionnement des processus de mémoire de travail visuospatiale. Pour cela, on a créé un nouveau paradigme qui sollicite ce type de mémoire. Dans ce paradigme, on présente des stimuli dynamiques et statiques. Après un court délai, le sujet doit reconnaître le stimulus qu'il a visualisé parmi six possibilités. Sur la base de récentes études neurophysiologiques, neuroanatomiques et psychologiques, nous avançons l'hypothèse que l'encodage de stimuli dynamiques et statiques repose sur deux processus distincts de mémoire de travail : un processus d'organisation qui manipule les informations sensorielles et un processus dé stockage qui est responsable du maintien de l'information au cours de la manipulation. Ces processus sont en relation directe avec les processus responsables d'une organisation de l'information à un niveau précoce du traitement visuel. Les études présentées dans cette thèse ont pour but de vérifier la pertinence de la distinction entre les processus de mémoire de travail visuospatiale, selon la modalité «dynamique » ou «statique ». L'investigation des processus dynamiques et statiques de mémoire de travail dans la schizophrénie présente deux avantages principaux. Premièrement, 1a pathologie pourrait permettre de mettre en évidence, par les dysfonctionnements qu'elle présente, la pertinence des hypothèses sur le fonctionnement des processus de mémoire de travail visuospatiale et de leur interaction avec les processus sensoriels. Deuxièmement, ces investigations rendent possible une analyse des dysfonctions des différents processus dans la schizophrénie. Dans cette thèse, on analyse aussi les processus de mémoire de travail «dynamiques » et «statiques » chez des sujets dans une phase initiale de la psychose. Les résultats de cette étude permettent de faire une comparaison avec ceux obtenus avec des patients qui souffrent de schizophrénie. Cette comparaison peut apporter des informations intéressantes sur l'évolution des dysfonctions dans les processus impliqués dans les fonctions de mémoire de travail visuospatiale au cours de la schizophrénie. Les résultats obtenus dans les différentes études sont cohérents avec l'hypothèse d'une implication différente des processus d'organisation de la mémoire de travail sur des stimuli dynamiques et statiques. -Nos résultats montrent que les processus de mémoire de travail responsables de l'organisation (manipulation active) des informations est déficitaire dans la schizophrénie. Ce déficit semble jouer un rôle de premier plan dans la dégradation des processus visuospatiaux au cours de la schizophrénie.

Inclusion and empowerment in public art and urban design

To involve citizens in developing the processes of city making is an objective that occupies part of the agenda of political parties in the context of the necessary renewal in representative democracy. This paper aims to provide some answers to the following questions: Is it possible to overcome the participatory processes based exclusively on the consultation? Is it possible to"train" residents to take an active role in decision-making? How can we manage, proactively, the relationship between public actors, technicians and politicians, in a participatory process? We analyse the process development for creating the Wall of Remembrance in the Barcelona neighbourhood of Baró de Viver, a work of public art, created and produced by its neighbours, in the context of a long participatory process focused on changing the image of the neighbourhood and the improvement of public space. This result and this process have been possible in a given context of cooperation among neighbours, local government and the research team (CR-Polis, Art, City, Society at the University of Barcelona). The development of a creative process of citizen participation between 2004 and 2011 made possible the direct management of decision making by the residents on the field of the design of public space in the neighbourhood. However, the material results of the process does not overshadow the great achievement of the project: the inclusion of a neighbourhood in taking informed decisions because of their empowerment in public space design and management of their remembrances.

Balanced scorecard 1990-luvun johtamismallina

Tutkimuksen tavoitteena oli tutkia tasapainotettua mittaristoa tapana mitata suorituskykyä ja jalkauttaa yritysstrategiaa sekä johtamisfilosofioiden historiaa niin laajasti kuin tasapainotetun mittariston sijoittaminen historialliseen viitekehykseen edellyttää. Tutkielman doktriini koostuu johtamisfilosofioiden historiaa, strategiaprosessia ja tasapainotettua mittaristoa koskevasta kirjallisuudesta. Tutkimusmetodologiaksi oli valittu käsiteanalyyttinen metodologia. Valitun näkökulman mukaan tutkimus tarkasteli taloudellisen tiedon olemusta, laskentatoimen muuttuvia tehtäviä, johtamisfilosofioiden ja johdon laskentatoimen historiallista kehitystä ja tasapainotettua mittaristoa kehityksen tuloksena. Balanced scorecard on strateginen malli yhdistää liiketoimintayksikön kriittisten menestystekijöiden kehittymisen seuranta ja ohjaus samalle suoritusmittaristolle. Tutkimuksessa osoitettiin, että tasapainotettujen mittaristojen kehitys on saanut vaikutteita tavoite-, laatu- ja toimintojohtamisesta ja että tasapainotettu mittaristo on vuosisadan kestäneen kehityksen tulosta.

Towards increased productivity and quality in software development using agile, lean and collaborative approaches

Dagens programvaruindustri står inför alltmer komplicerade utmaningar i en värld där programvara är nästan allstädes närvarande i våra dagliga liv. Konsumenten vill ha produkter som är pålitliga, innovativa och rika i funktionalitet, men samtidigt också förmånliga. Utmaningen för oss inom IT-industrin är att skapa mer komplexa, innovativa lösningar till en lägre kostnad. Detta är en av orsakerna till att processförbättring som forskningsområde inte har minskat i betydelse. IT-proffs ställer sig frågan: “Hur håller vi våra löften till våra kunder, samtidigt som vi minimerar vår risk och ökar vår kvalitet och produktivitet?” Inom processförbättringsområdet finns det olika tillvägagångssätt. Traditionella processförbättringsmetoder för programvara som CMMI och SPICE fokuserar på kvalitets- och riskaspekten hos förbättringsprocessen. Mer lättviktiga metoder som t.ex. lättrörliga metoder (agile methods) och Lean-metoder fokuserar på att hålla löften och förbättra produktiviteten genom att minimera slöseri inom utvecklingsprocessen. Forskningen som presenteras i denna avhandling utfördes med ett specifikt mål framför ögonen: att förbättra kostnadseffektiviteten i arbetsmetoderna utan att kompromissa med kvaliteten. Den utmaningen attackerades från tre olika vinklar. För det första förbättras arbetsmetoderna genom att man introducerar lättrörliga metoder. För det andra bibehålls kvaliteten genom att man använder mätmetoder på produktnivå. För det tredje förbättras kunskapsspridningen inom stora företag genom metoder som sätter samarbete i centrum. Rörelsen bakom lättrörliga arbetsmetoder växte fram under 90-talet som en reaktion på de orealistiska krav som den tidigare förhärskande vattenfallsmetoden ställde på IT-branschen. Programutveckling är en kreativ process och skiljer sig från annan industri i det att den största delen av det dagliga arbetet går ut på att skapa något nytt som inte har funnits tidigare. Varje programutvecklare måste vara expert på sitt område och använder en stor del av sin arbetsdag till att skapa lösningar på problem som hon aldrig tidigare har löst. Trots att detta har varit ett välkänt faktum redan i många decennier, styrs ändå många programvaruprojekt som om de vore produktionslinjer i fabriker. Ett av målen för rörelsen bakom lättrörliga metoder är att lyfta fram just denna diskrepans mellan programutvecklingens innersta natur och sättet på vilket programvaruprojekt styrs. Lättrörliga arbetsmetoder har visat sig fungera väl i de sammanhang de skapades för, dvs. små, samlokaliserade team som jobbar i nära samarbete med en engagerad kund. I andra sammanhang, och speciellt i stora, geografiskt utspridda företag, är det mera utmanande att införa lättrörliga metoder. Vi har nalkats utmaningen genom att införa lättrörliga metoder med hjälp av pilotprojekt. Detta har två klara fördelar. För det första kan man inkrementellt samla kunskap om metoderna och deras samverkan med sammanhanget i fråga. På så sätt kan man lättare utveckla och anpassa metoderna till de specifika krav som sammanhanget ställer. För det andra kan man lättare överbrygga motstånd mot förändring genom att introducera kulturella förändringar varsamt och genom att målgruppen får direkt förstahandskontakt med de nya metoderna. Relevanta mätmetoder för produkter kan hjälpa programvaruutvecklingsteam att förbättra sina arbetsmetoder. När det gäller team som jobbar med lättrörliga och Lean-metoder kan en bra uppsättning mätmetoder vara avgörande för beslutsfattandet när man prioriterar listan över uppgifter som ska göras. Vårt fokus har legat på att stöda lättrörliga och Lean-team med interna produktmätmetoder för beslutsstöd gällande så kallad omfaktorering, dvs. kontinuerlig kvalitetsförbättring av programmets kod och design. Det kan vara svårt att ta ett beslut att omfaktorera, speciellt för lättrörliga och Lean-team, eftersom de förväntas kunna rättfärdiga sina prioriteter i termer av affärsvärde. Vi föreslår ett sätt att mäta designkvaliteten hos system som har utvecklats med hjälp av det så kallade modelldrivna paradigmet. Vi konstruerar även ett sätt att integrera denna mätmetod i lättrörliga och Lean-arbetsmetoder. En viktig del av alla processförbättringsinitiativ är att sprida kunskap om den nya programvaruprocessen. Detta gäller oavsett hurdan process man försöker introducera – vare sig processen är plandriven eller lättrörlig. Vi föreslår att metoder som baserar sig på samarbete när processen skapas och vidareutvecklas är ett bra sätt att stöda kunskapsspridning på. Vi ger en översikt över författarverktyg för processer på marknaden med det förslaget i åtanke.

The transcendence of time in the epistemology of observation from a phenomenological standpoint

In this article I deal with time as a notion of epistemological content associated though with the notion of a subjective consciousness co-constitutive of physical reality. In this phenomenologically grounded approach I attempt to establish a 'metaphysical' aspect of time, within a strictly epistemological context, in the sense of an underlying absolute subjectivity which is non-objectifiable within objective temporality and thus non-susceptible of any ontological designation. My arguments stem, on the one hand, from a version of quantum-mechanical theory (History Projection Operator theory, HPO theory) in view of its formal treatment of two different aspects of time within a quantum context. The discrete, partial-ordering properties (the notions of before and after) and the dynamical-parameter properties reflected in the wave equations of motion. On the other hand, to strengthen my arguments for a transcendental factor of temporality, I attempt an interpretation of some relevant conclusions in the work of J. Eccles ([5]) and of certain results of experimental research of S. Deahaene et al. ([2]) and others.

Mellom tradisjon og spel : didaktikk for tekstil folkekunst

Denne avhandlinga er resultatet av eit behov for å forske på og utvikle ein didaktikk for tekstilfaget ved Folkekunststudiet, Institutt for folkekultur, Høgskolen i Telemark, Noreg. Studiet med folkekunst som fagfelt er eit relativt ungt studium på høgskolen, som vart etablert i 1984. Problemstillinga i denne avhandlinga er korleis ein kan utvikle ein forskingsbasert didaktikk der dei grunnleggjande prinsippa som særmerkjer den tradisjonelle folkekunsten, vert tekne vare på. I arbeidet med avhandlinga har eg prøvd på å klårgjere problemstillinga ut frå ulike perspektiv. Forskingsarbeidet har fokus på kommunikasjon og arbeidsmåtar i ljos av ulike teoriar. Det er ei hermeneutisk tilnærming som er vald for den didaktiske forståinga. Det fyrste drøftingstemaet har søkjeljos på kommunikasjon og dialog ved vidareføring av tekstil folkekunst. Både estetiske, teoretiske, praktiske og sosiale aspekt er nedfelte i læreplanen for studiet og skal utgjere grunnlaget for kommunikasjon og arbeidsmåtar. I den skapande og kopierande prosessen er det utvikla språklege reiskapar for både den sosiale og den estetiske sida der den teoretiske og praktiske faktoren er integrert. Møte med døme på tekstile tradisjonar så vel som praktisk forming av tekstilar har ført til refleksjon og dialog som involverer kontemplasjon, korrespondens og imaginasjon. Det andre temaet som er drøfta, er vidareføring av tradisjonelt visuelt formspråk. Her er merksemda retta mot kva som har skjedd formalt med ei gruppe tradisjonelle formelement i tekstilar i den institusjonelle vidareføringa over eit lengre tidsperspektiv. Resultatet syner at mange tradisjonelle formelement er borte frå den institusjonelle produksjonen. Formelementa kan ha fått ei meir naturalistisk utforming, eller dei er overførte til andre tradisjonelle tekstilteknikkar enn dei som var utgangspunktet. Rombeforma i den institusjonelle produksjonen er utført i færre variasjonar og kombinasjonar enn i den tradisjonelle produksjonen. Konklusjonen på drøftingstemaet er at spelereglar og spatialitet i høve til den formale komponenten i utvalet med tradisjonelle tekstilar ikkje er vidareført i alle gruppene av institusjonelle produkt. Resultatet kan få innverknad og fylgjer for utforming av ein framtidig didaktikk for faget. Arbeidsmåte og erfaring frå vidareføring av tekstile tradisjonar er det tredje temaet som er drøfta i avhandlinga. Kopiering og skapande prosessar er arbeidsmåtar som er brukte ved studiet i dag, og dei utgjer grunnlag for drøftingar i relasjon til vidareføring og erfaring. Konklusjonen er at i den skapande prosessen korrigerer tradisjonen utforminga, medan i kopiprosessen er eigen stilvilje og improvisering resultat av prosessane. Personar som deltek i prosessane, har sett seg sjølve og si historiske forankring inn i spelet, der visuelt og verbalt språk er resultat av integrasjon av tradisjonar. Dei tre drøftingstemaa utgjer grunnlaget for at didaktikk for folkekunst og tekstil kan bli intersubjektiv forståing av kva ein didaktikk for vidareføring av folkekunst med vekt på tekstil kan vere i utdanninga i dag. Indre og ytre dialog i skapande og kopierande prosessar femner om estetiske, materielle og tekniske faktorar sett i høve til spelereglar, spelerom, spatialitet og samspel i møte med tekstile tradisjonar. Samla utgjer det ein forskingsbasert didaktikk for faget der den overordna intensjonen er samtykke mellom tradisjon og spel.

Scientific creativity and diversity of physical work environment: framework development

The aim of this research was to develop a framework to analyze how physical environment influences scientific creativity. Due to the relative novelty of this topic, there is still a gap in the unified method to study connection between physical environment and creativity. Therefore, in order to study this issue deeply, the qualitative method was used (interviews and qualitative questionnaire). Scientists (PhD students and senior researchers) of Graduate School of Management were interviewed to build the model and one expert interview was conducted to assess its validity. The model highlights several dimensions via which physical environment can influence scientific creativity: Comfort, Instruments and Diversity. Comfort and Instruments are considered to be related mostly to productivity, an initial requirement for creativity, while Diversity is the factor responsible for supporting all the stages of scientific creative process. Thus, creative physical environment is not one place by its nature, but an aggregative phenomenon. Due to two levels of analysis, the model is named the two-level model of creative physical environment.

Pelinkehityksen tarpeet ja kustannukset konsolisukupolvien ja vuosikymmenten välillä

Tässä työssä tarkastellaan videopelien nousevia kehityskustannuksia ja selvitetään videopelien historiaa ja kehitysprosessia tarkastelemalla syitä kustannusten nousuun. Työn pääkohteena ovat isojen ja keskisuurten peliyritysten videopelikehityskustannukset. Historiaosuus on jaoteltu vuosikymmenten mukaan 1950-luvulta 2000-luvulle asti ja kehitysprosessin tarkastelussa keskitytään nykyisten suurten pelien kehitysprosessin vaiheisiin ja tarpeisiin sekä prosessin osanottajien rooleihin. Näin perustellaan lopuksi lueteltavat kustannusten nousun syyt ja niiden mahdolliset seuraukset.

The role of business model in computer game development organizations

The computer game industry has grown steadily for years, and in revenues it can be compared to the music and film industries. The game industry has been moving to digital distribution. Computer gaming and the concept of business model are discussed among industrial practitioners and the scientific community. The significance of the business model concept has increased in the scientific literature recently, although there is still a lot of discussion going on on the concept. In the thesis, the role of the business model in the computer game industry is studied. Computer game developers, designers, project managers and organization leaders in 11 computer game companies were interviewed. The data was analyzed to identify the important elements of computer game business model, how the business model concept is perceived and how the growth of the organization affects the business model. It was identified that the importance of human capital is crucial to the business. As games are partly a product of creative thinking also innovation and the creative process are highly valued. The same applies to technical skills when performing various activities. Marketing and customer relationships are also considered as key elements in the computer game business model. Financing and partners are important especially for startups, when the organization is dependent on external funding and third party assets. The results of this study provide organizations with improved understanding on how the organization is built and what business model elements are weighted.

Perceptions of creativity in a fashion design course /

Creativity is important to the growth and development of society, to educational institutions, and to the personal growth of individuals. Students who are aware of their creativity are assumed to have innovative ideas and fresh insights. Limited research has been conducted to see if students can identify their own creative abilities. In this study, I explored the students' perceptions and experiences in a fashion design course. This study documented the creative journey from the concept stage of an apparel collection to the final product. Participants were asked to reflect and document their creative moments, describe a creative process, and identify a creative environment. The participants were students who were enrolled in a fashion design course and were asked to participate in this study because they experienced all stages of the design process. Data were collected through personal reflection surveys, focus groups, and personal interviews. Themes of creative moments that emerged from this study were experiences that the participants had as they proceeded through the stages of the fashion design process. All of the participants identified a creative process, but the stages varied for each participant The participants identified themes related to promoting creativity in an environment, including the atmosphere, creative people, teachers, reflection, student needs, and assignments. The participants identified potential barriers in an environment, including rules and guidelines, teachers, the classroom, deadlines and time, feedback, and other important issues. The results ofthis study suggest that there needs to be a better understanding of creativity and greater support and encouragement for creativity in the classroom. Instructors need to support environments that are conducive to creative development and lead to effective learning for students. Students need to learn how to enhance their creativity as well as understand the barriers that block their creative development.

The nature of the highly artistic student in visual arts at secondary school /

This qualitative investigation examined the nature of 7 highly artistic visual arts students at 2 secondary schools in southcentral Ontario. Through interviews, questionnaires, observations, and artwork documents, this study attempted to understand these highly artistic students in terms of creativity, motivation, social and emotional perspectives, and cognitive processes. Data collection occuned over a 3-monlh period. and the data analysis program NVivo 7 was used for coding to develop themes and categories for organizing data. The findings of this study illustrate the significant place that \ isual arts can lake in the growth and development for the youth of today. Participants idcniificd dcxclopnig critical thinking and problem-solving skills, taking risks, and meeting challenges ilirouuh their engagement in the creative process. The transferability of these skills \\ as referenced to numerous aspects of their lives. By enhancing individual perspectives through the study of visual arts, their local and world connections were extended, and environmental and societal concerns evolved. In addition, the communicative opportunities that visual arts provided for these students in terms of personal expression provided emotional health and paths of personal discovery. Through the participants' production of artwork with the many stages this involves, combined with insight into their needs, the participants relayed miportant suggestions for programming enhancements and educational settmgs lor \ isiial arts classrooms. These suggestions are meaningful for educators and curriculum developers of the future.

Creativity and the working artist/teacher : the relationships

The purpose of this qualitative study was to understand the relationships between creativity and the working artist/teacher employed by an art college. The topic emerged from my job as an instructor at The Ontario College of Art which was used as the primary data resource and provided the highest caliber of professionals to chose from. Existent data were used to facilitate the study generated by the research of Cawelti, Rappaport, and Wood (1992). The data were generated by a group of 5 faculty members from The University of Northern Iowa, recognized for their expertise in the arts (a painter, a poet, a sculptor, a novelist, and a photographer). They were asked to respond to the following statement: "In as much detail as you like, list the things that you did, thought, or felt the last time you created an artistic product. II Cawelti, Rappaport, and Wood (1992) produced three models of the creative process, each building on the previous, with the resultant third,being in my opinion, an excellent illustration (text/visual) of the creative process. Model three (Appendix D) presented a "multi-dimensional view of the creative process: time, space, observatility, and consciousnessll (p. 90). Model three utilized a visual mapping device along the bottom of the page linked to text segments above. Both the visual and the text were interrelated so that they harmonized into a comprehensive "picture." The parti'cipants of this qualitative study were asked to consider model three from their professional perspective as artist/teachers. The interpretive sciences directed the methodology. The hermeneutic circle of continuous reflection from the whole to the part and back to the whole was an important aspect of the data analyses. Four members of the Foundation Department at The Ontario College of Art were the key participants. A series of conversational interviews was the primary source of data collection, this was augmented by observation, fie,ldnotes, and follow up telephone interviews. Transcripts of interviews were returned to participants for reflection and the telephone was used to discuss any additional -points raised. Analysis consisted of coding and organizing data according to emerging themes. These themes formed the basis for the narrative stories. The text of the narrative stories were given back to each participant for further comment. Revisions were made until both the researcher and the participants felt that the stories reflected reality. The resultant whole was critiqued from the researcher's perspective. The significance of this study was discussed as it pertains to the working artist/teacher and areas in need of further study are pointed out.