Analyzing the researcher's work in generating data: The case of complaints

This article investigates the researcher's work in the coproduction (or not) of complaint sequences in research interviews. Using a conversation analytic approach, we show how the interviewer's management of complaint sequences in a research setting is consequential for subsequent talk and thus directly affects the data generated. In the examples shown here, researchers sharing cocategorial incumbency with respondents may well provide spaces for research participants to formulate complaints. This article examines sequences of talk surrounding complaints to show how researchers generate complaints (or not) and handle unsafe complaints. Researchers are able to provoke specific types of accounts from respondents, whereas their respondents may actively resist the researchers' direction. For researchers using the interview as a method of data generation, examination of complaint sequences and how these appear in interview data provides insight into how interview talk is coproduced and managed within a socially situated setting.

As tecnologias de informação e comunicação (TIC) e a coprodução de serviços públicos

Comunicação apresentada no 8º Congresso Nacional de Administração Pública – Desafios e Soluções, em Carcavelos de 21 a 22 de Novembro de 2011.

O sistema prisional português no contexto da segurança pública

In actual context of multidimensional and complex interactions, public safety has been occupying more and more both rhetorical and political agendas and citizen’s concerns. People discuss the causes, crime combat, question the punishment and its implementation as a way of stop the the increasing criminality. Such as public safety, also prisons and prision systems as integral parts in coproduction safety have been taking the center of the discussions, which seeks to realize the preponderance of the portuguese prision system in the context of public safety.

Noces : un dispositif complexe et une réception plurivoque

Noces est un film réalisé par Philippe Béziat. Issu d'une coproduction franco-suisse, il est sorti en France le 8 février 2012 et en Suisse romande le 26 septembre de la même année. Il met en scène, dans le Lavaux, une production contemporaine de l'oeuvre Les Noces, des répétitions à la présentation de la pièce dans son intégralité. La particularité de cette représentation, qui constitue l'aboutissement du film, réside dans le fait qu'elle n'est pas jouée devant un public, et était d'emblée prévue pour être exclusivement filmée1. Cette «cantate-ballet» a été composée par Igor Stravinsky lors de son séjour à Morges et le livret a été adapté en français par Charles-Ferdinand Ramuz à partir de contes et chansons populaires russes. La création du spectacle est encadrée par les Souvenirs sur Igor Strawinsky2, ouvrage dans lequel le poète vaudois évoque sa collaboration avec le compositeur et dépeint le lieu où ce projet a été développé. Constatant la diversité des discours critiques portés sur le film lors de sa sortie, le présent article cherche à identifier les logiques de réception ainsi que les aspects du film qui, parce que susceptibles de produire des lectures plurivoques, peuvent conduire à élaborer des avis opposés. 1Philippe Béziat revendique cette particularité de Noces dans l'interview qui figure dans le dossier de presse du film : « Mais le dispositif de représentation est absolument unique et ne peut être que cinématographique. On ne peut pas imaginer donner ces Noces comme ça dans une salle de concert ou dans une salle d'opéra. On n'entendrait pas ce que le spectateur du film entend, avec un son direct, spatialisé, et toujours du point de vue de la caméra. Un point de vue idéal parce qu'au centre de tout. ». 2Charles-Ferdinand Ramuz, Souvenirs sur Igor Strawinsky, Lausanne, Editions de l'Aire, 1978 [1929].

Contextualist research: Iterating between methods while following an empirically grounded approach

An alternative approach to research is described that has been developed through a succession of significant construction management research projects. The approach follows the principles of iterative grounded theory, whereby researchers iterate between alternative theoretical frameworks and emergent empirical data. Of particular importance is an orientation toward mixing methods, thereby overcoming the existing tendency to dichotomize quantitative and qualitative approaches. The approach is positioned against the existing contested literature on grounded theory, and the possibility of engaging with empirical data in a “theory free” manner is discounted. Emphasis instead is given to the way in which researchers must be theoretically sensitive as a result of being steeped in relevant literatures. Knowledge of existing literatures therefore shapes the initial research design; but emergent empirical findings cause fresh theoretical perspectives to be mobilized. The advocated approach is further aligned with notions of knowledge coproduction and the underlying principles of contextualist research. It is this unique combination of ideas which characterizes the paper's contribution to the research methodology literature within the field of construction management. Examples are provided and consideration is given to the extent to which the emergent findings are generalizable beyond the specific context from which they are derived.

O papel da confiança na coprodução

Esse trabalho investigou empiricamente a influência que a confiança que o cliente deposita no prestador de serviços exerce sobre a efetividade da coprodução do cliente em serviços intensivos em conhecimento baseados em tecnologia. Para tanto, foi realizada uma revisão da literatura de marketing de serviços e de gerenciamento de operações sobre a participação do cliente na produção e entrega de serviços, que é o que caracteriza genericamente a coprodução do cliente. Também foi revisada a literatura sobre serviços intensivos em conhecimento, em busca de entender suas características e especificidades, e sobre confiança, especialmente na área de marketing de relacionamento. Sobre a participação do cliente na produção e entrega de serviços, constatou-se que existe na literatura uma visão consagrada que trata o cliente como “funcionário parcial” da empresa durante os encontros de serviços. Essa visão propõe recorrentemente um modelo conceitual em que a efetividade da coprodução do cliente apresenta três antecedentes fundamentais: clareza de papel, motivação e expertise do cliente. Além disso, foi identificada uma proposição teórica especificamente para o setor de serviços intensivos em conhecimento, nunca testada empiricamente, que sugere que esses três antecedentes da efetividade da coprodução são influenciados por um conjunto de comportamentos colaborativos desejáveis, batizados de responsabilidades do papel do cliente. Dessa forma, este trabalho testou um modelo conceitual que estabeleceu a confiança e as responsabilidades do papel do cliente como antecedentes da clareza de papel, motivação e expertise do cliente no processo de coprodução do cliente. Foi utilizada uma abordagem quantitativa e os dados foram levantados junto a profissionais que já participaram de projetos de software na condição de clientes. A coleta de dados usou um questionário estruturado construído a partir de escalas de mensuração de estudos anteriores. As relações entre os conceitos foram testadas por meio da técnica de modelagem de equações estruturais. Os resultados obtidos apresentaram evidências de que a confiança e as responsabilidades do papel do cliente impactam positivamente a clareza de papel, a motivação ou a expertise do cliente, abrindo espaço para pesquisas futuras que aprofundem o entendimento das relações entre esses conceitos e sua importância para a efetividade da coprodução do cliente.

Atenção, consciência e prática pedagógica: um estudo de suas interconexões

This thesis entitled, Attention, Consciousness and Practice of Teaching: A Study of its Interconnects, argues about a relationship between development of attention and consciousness and its connection to the pedagogical practice developed in a public elementary school in Natal city, Rio Grande do Norte state. The research school is located in the south of the city. School activities are developed according with the political pedagogical project. The group investigated was 25 students aged between 8-12 years of the fourth grade. The students of the research are residents of Ponta Negra village, Pirangi and Neópolis districts. The research was effected by three teachers however, the purpose of this thesis was to investigate the relationship between the development of attention and awareness and the pedagogical practice of one of the teachers who participated in the research, and more specifically understand the psychic procedures involved in the development of attention and awareness; enabling conditions for the realization of an educational action that enables the development in terms of focused attention and states of consciousness of students, analyzing their interrelations. Therefore, it was used as methodology the collaborative research by providing elements for research as strategy of formation and development, the coproduction of knowledge, and the change of educational practice through reflective processes effected through the collaboration and critical reflection among participants. For empirical construction, it was used the following procedural elements: meeting, planning, diagnosis of attention and awareness, reflective period studies, collaborative observation and reflection sessions with the participant teachers and the students. The diagnosis of attention was effected through a game and its elaboration was based on the study proposed by Luria (1991). The purpose of the game was to apprehend the stage where students were in relation of a development attention. Concerning the diagnosis of consciousness, it was taken as reference studies by Burlatski (1987), Pinto (1960a, 1960b), Rubinstien (1973), Leontiev (1978) and others studies discussing this topic. As a method of analysis, it was resorted to the dialectical historical materialism, the ability to identify, analyze and explain those contradictions generated in the process. In the analysis procedures were prepared some categories as well as, were used categories by other authors with the purpose of understanding the critical reflective process collaborative evidencing the formation of concepts and pedagogical practice of the participants, and the analysis of a practical pedagogical of a teacher and her relationships with the development of the psychic process and functions of students, in other words, attention and awareness. Regarding the reflective process were used the categories: technical reflection, critical reflection and practical reflection (LIBERALI, 2008). Concerning the analysis of the concepts were used the categories: description, characterization, definition and conceptualization (FERREIRA, 2003). And for critical collaboration were the categories: critical collaboration, uncritical, technique and practice. In pedagogical practice, were used categories: repetitive practice teaching, heterogeneous and reflexive critical (SOUZA, 2010). During the collaborative observation was evident predominance of heterogeneous practice, because the main participant teacher searches for immediate solution to the situations problem, as well as reflection moments, is the technical arrangement, practice, critical, as well as concern in interacting with students, the qualitative changes, deep knowledge, renewal and transformation of the teaching activity. In this process, the collaborative reflection proved to be an effective strategy for developing awareness of students, because through reflection sessions, the students were able to understand that learning is a building process and that it necessary to be careful for their development

A intersemiose texto-história-cinema na minissérie ROMA da HBO

From August 2005 to March 2007, the two seasons (with 12 and 10 episodes respectively) of the award winning miniseries HBO‟s ROME were aired by the Home Box Office (HBO) channel. With screenplay signed by various writers and directors, the TV series was a coproduction of HBO (USA) and BBC (UK) with support from RAI (Italy), and the show was filmed in multiple locations, but mainly in Cinecittà Film Studios in Rome, very famous for having been headquarters also for Federico Fellini‟s movies. In the first season, the miniseries depicts the conquest of Gaul, made by the military genius of Gaius Julius Caesar, and the political trajectory that made him accumulate power to such an extent that this divided Roman citizens into two factions, one supporting and the other opposing him, the latter focused mainly on the historic figure of General Gnaeus Pompey Magnus. The second season shows the period of civil war following the assassination of Caesar, and the future rise to power of his nephew, adopted son and sole heir, Gaius Octavian Augustus, who was destined to overcome his rivals as well as their allies in the triumvirate that had been formed to pursue and punish Caesar‟s assassins. These facts are well known and usually crowd the mind and imagination of every minimally educated person. The HBO series broke new ground not only for the talent of its writers, directors and actors, not only for its visual effects and locations nor for the vibrancy and grandeur of historical scenes – after all, “historical movies” in general do the same – but it has done so also by the (re)construction of historical events from the perspective of a pair of protagonists of whom too little is known: the centurions Titus Pullo and Lucius Vorenus, who are the only low-rank soldiers mentioned by Caesar in his book Commentaries on the Gallic War (Commentarii de Bello Gallico V.44). Thus, the fictionalization of events also took into account several Roman civilization data which were scattered through historical sources and also those that belong to the modern knowledge of material culture, resulting in a TV series whose filmic aesthetics has rare beauty and creativity. From the survey of textual, historical and cultural data put together in this film, as well as the distance featuring the creative space in the dimension of the gap between them, this paper aims to highlight two pivotal moments of visual and narrative strategies of the show: the opening credits footage and the final scenes of the first season of HBO's Rome.

Human TH9 cells are skin-tropic and have autocrine and paracrine proinflammatory capacity.

T helper type 9 (TH9) cells can mediate tumor immunity and participate in autoimmune and allergic inflammation in mice, but little is known about the TH9 cells that develop in vivo in humans. We isolated T cells from human blood and tissues and found that most memory TH9 cells were skin-tropic or skin-resident. Human TH9 cells coexpressed tumor necrosis factor-α and granzyme B and lacked coproduction of TH1/TH2/TH17 cytokines, and many were specific for Candida albicans. Interleukin-9 (IL-9) production was transient and preceded the up-regulation of other inflammatory cytokines. Blocking studies demonstrated that IL-9 was required for maximal production of interferon-γ, IL-9, IL-13, and IL-17 by skin-tropic T cells. IL-9-producing T cells were increased in the skin lesions of psoriasis, suggesting that these cells may contribute to human inflammatory skin disease. Our results indicate that human TH9 cells are a discrete T cell subset, many are tropic for the skin, and although they may function normally to protect against extracellular pathogens, aberrant activation of these cells may contribute to inflammatory diseases of the skin.

Scientists’ situated knowledge: Strong objectivity in transdisciplinarity

Although transdisciplinary research has started addressing important epistemological challenges, as evidenced by the discussion about ‘mode 2’ knowledge production, its relation with postulations of ‘scientific objectivity’ is not yet well clarified. A common way of dealing with the epistemological challenge of situated knowledge production, as proposed by transdisciplinarity, is to point to the fundamental aspect of reflexivity. But reflexivity also includes being aware that power and control over the object is derived from the social position of researchers, an issue not often explicitly discussed in transdisciplinary research. Reflexivity thus represents an important but insufficient principle for guaranteeing appropriate levels of self-reflection within a process of knowledge coproduction. We therefore hypothesize that transdisciplinary research could greatly benefit from feminist scientific tradition, in particular the insights of standpoint theory and the concept of ‘strong objectivity’. We analyse, and reflect upon, how a recent transdisciplinary research initiative – conducted together with civil society organizations in (CSOs) in six countries: Bangladesh, Bolivia, Brazil, Burkina Faso, Ecuador and India – has benefited from the use of ‘strong objectivity’. We analyse how the social position of all stakeholders, including ourselves as the scientific actors in this initiative, influence the process and conditions of transdisciplinary knowledge co-production, and we discuss how power and control by scientists affects the process and conditions of interaction. Thereby we argue for the necessity of explicitly assuming sides in contested contexts for reaching objectivity in transdisciplinary research.