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With the outbreak of COVID-19, the Swedish government allocated specific financial support to cultural practitioners, however, excluding curators from this assistance. As a result, a group of engaged professionals formed the Swedish Curators’ Association, marking a recent effort in curatorial self-organization. This study aims to understand and illuminate the phenomenon of curatorial self-organization and how the experience of self-organizing is understood by curators in 2022. It investigates the past and current personal lived experiences of four curators through phenomenological methodological, and theoretical approaches. Next, the study explores how their perception correlates with the current curatorial lifeworld. At the core of this study is the hypothesis that in a consolidated lifeworld, curatorial self-organization becomes a model of a joint phenomenological body, functioning as a mechanism of sustainability, balance, and orientation due to the diversity of curatorial practices and experiences of its members. Archival materials and four interviews are at the core of the research. Study results showed that curatorial self-understanding and perception of self-organization are formed very individually; therefore, it would be inaccurate to generalize the phenomenon without having that in mind. Additionally, several internal and external factors played a significant role in the latest formation and perception of the phenomenon. The study also revealed that previous experiences of curatorial self-organizations have not been present in today’s active curatorial lifeworld, existing as familiar yet distant memories. Finally, the study goes beyond its initial hypothesis to find that the current attempt to self-organize curatorially in Sweden can be equated to a tool for curators to self-define, articulate the changing curatorial roles, and re-understand the essence of the profession.

Denna kvalitativa studie undersöker sinnena och synestesi som pedagogisk resurs inom det drama-och teaterpedagogiska fältet. Covid-19-restriktionerna under 2020/21 ledde till anpassningar i studien där empiri från fysiska träffar föll bort. Syftet är att lyfta fram sinnena och synestesis roll i drama- och teater-estetiska lärprocesser ur ett fördjupat teoretiskt och ett praktiskt empiriskt perspektiv. Framför allt ur ett multilitteracitetspedagogisk teoretiskt perspektiv och med stöd av L.S. Vygotskis tankar om föreställningsförmåga/fantasi, Augusto Boal´s begrepp om det estetiska rummet och M. Merleau-Ponty syn på synestesi blir viktiga. Metodansatsen som stödjer syftet består av olika fenomenologiskt inspirerade metoder som fokuserar på individens egen erfarenhet. Hela studien genomfördes på två enskilda faser; en fördjupad litteraturgenomgång som kan anses som en litteraturstudie, ett essäskrivande vars empiriska material är två väldokumenterade tidigare drama- och teater-estetiska lärprocesser. Allt insamlat empiriskt material analyserades och kontrasterades med de valda teorier och begrepp. Resultatet i studien visar på en stor inverkan av sinnena på hela barnens kognitiva och kreativa utveckling. I ett pedagogisk/konstnärlig sammanhang visar det sig att sinnena är avgörande bland annat för en optimal förståelse i utövandet av metaxis, en process där eleven/skådespelaren agerar i karaktär och i det indirekt upptäcker den egna individens erfarenheter. Studien identifierar synestesi som ett icke-neurologiskt tillstånd och som en förmåga som kan främjas i drama- och teater-pedagogik och som dessutom blir mer identifierbar inom strukturerade ritualer. Ur ett större pedagogiskt sammanhang belyser studien drama- och teater-estetiska lärprocessers multimodalitet med hjälp av multilitteracitetspedagogisk teori. Detta i sin tur bidrar till att nyansera den “mediepanik debatten” och vidgar diskussionen om den traditionella skolans begränsade syn på multimodalitet och bru, This qualitative study aims to explore the senses and Synaesthesia as a pedagogical resource in the field of Applied theatre and drama. The Covid-19 restrictions during 2020/21 led to adaptations in the study, where empirical data from physical meetings were not included. The purpose is to highlight the role of the Senses and Synaesthesia in Drama and theatre-aesthetic learning processes, from an in-depth theoretical and a practical empirical perspective. In the theoretical framework become relevant especially the Multiliteracy pedagogical theoretical perspective and with the support of L.S. Vygotsky’s Theory of Imagination, Augusto Boal's concept of The Aesthetic space and M. Merleau-Ponty's view on Synaesthesia. The methodological approach that supports the purpose, consists of various phenomenologically inspired methods that focus on the individual's own experience. The entire study was carried out in 2 individual phases; an in-depth literature review that can be considered as a literature study, an essay writing whose empirical material is two well-documented previous Drama and theatre aesthetic learning processes. All collected empirical material was analysed and contrasted with the chosen theories and concepts. The results of the study show a great impact of the Senses on the cognitive and creative development of the infant. In an educational/artistic context, it appears that the Senses are crucial, among other things, for an optimal understanding in the practice of Metaxis, a process in which the student/actor acts in character and in doing so indirectly discovers his/her own individual experience. The study identifies Synaesthesia as a non-neurological condition and as an ability that can be promoted in pedagogy and that, moreover, becomes more identifiable within structured rituals. In a wider pedagogical context, the study highlights the multimodality of Drama and theatre aesthetic learning processes using Multiliteracy pedagogical theory. This in turn hel

Denna kvalitativa studie undersöker sinnena och synestesi som pedagogisk resurs inom det drama-och teaterpedagogiska fältet. Covid-19-restriktionerna under 2020/21 ledde till anpassningar i studien där empiri från fysiska träffar föll bort. Syftet är att lyfta fram sinnena och synestesis roll i drama- och teater-estetiska lärprocesser ur ett fördjupat teoretiskt och ett praktiskt empiriskt perspektiv. Framför allt ur ett multilitteracitetspedagogisk teoretiskt perspektiv och med stöd av L.S. Vygotskis tankar om föreställningsförmåga/fantasi, Augusto Boal´s begrepp om det estetiska rummet och M. Merleau-Ponty syn på synestesi blir viktiga. Metodansatsen som stödjer syftet består av olika fenomenologiskt inspirerade metoder som fokuserar på individens egen erfarenhet. Hela studien genomfördes på två enskilda faser; en fördjupad litteraturgenomgång som kan anses som en litteraturstudie, ett essäskrivande vars empiriska material är två väldokumenterade tidigare drama- och teater-estetiska lärprocesser. Allt insamlat empiriskt material analyserades och kontrasterades med de valda teorier och begrepp. Resultatet i studien visar på en stor inverkan av sinnena på hela barnens kognitiva och kreativa utveckling. I ett pedagogisk/konstnärlig sammanhang visar det sig att sinnena är avgörande bland annat för en optimal förståelse i utövandet av metaxis, en process där eleven/skådespelaren agerar i karaktär och i det indirekt upptäcker den egna individens erfarenheter. Studien identifierar synestesi som ett icke-neurologiskt tillstånd och som en förmåga som kan främjas i drama- och teater-pedagogik och som dessutom blir mer identifierbar inom strukturerade ritualer. Ur ett större pedagogiskt sammanhang belyser studien drama- och teater-estetiska lärprocessers multimodalitet med hjälp av multilitteracitetspedagogisk teori. Detta i sin tur bidrar till att nyansera den “mediepanik debatten” och vidgar diskussionen om den traditionella skolans begränsade syn på multimodalitet och bru, This qualitative study aims to explore the senses and Synaesthesia as a pedagogical resource in the field of Applied theatre and drama. The Covid-19 restrictions during 2020/21 led to adaptations in the study, where empirical data from physical meetings were not included. The purpose is to highlight the role of the Senses and Synaesthesia in Drama and theatre-aesthetic learning processes, from an in-depth theoretical and a practical empirical perspective. In the theoretical framework become relevant especially the Multiliteracy pedagogical theoretical perspective and with the support of L.S. Vygotsky’s Theory of Imagination, Augusto Boal's concept of The Aesthetic space and M. Merleau-Ponty's view on Synaesthesia. The methodological approach that supports the purpose, consists of various phenomenologically inspired methods that focus on the individual's own experience. The entire study was carried out in 2 individual phases; an in-depth literature review that can be considered as a literature study, an essay writing whose empirical material is two well-documented previous Drama and theatre aesthetic learning processes. All collected empirical material was analysed and contrasted with the chosen theories and concepts. The results of the study show a great impact of the Senses on the cognitive and creative development of the infant. In an educational/artistic context, it appears that the Senses are crucial, among other things, for an optimal understanding in the practice of Metaxis, a process in which the student/actor acts in character and in doing so indirectly discovers his/her own individual experience. The study identifies Synaesthesia as a non-neurological condition and as an ability that can be promoted in pedagogy and that, moreover, becomes more identifiable within structured rituals. In a wider pedagogical context, the study highlights the multimodality of Drama and theatre aesthetic learning processes using Multiliteracy pedagogical theory. This in turn hel

With the outbreak of COVID-19, the Swedish government allocated specific financial support to cultural practitioners, however, excluding curators from this assistance. As a result, a group of engaged professionals formed the Swedish Curators’ Association, marking a recent effort in curatorial self-organization. This study aims to understand and illuminate the phenomenon of curatorial self-organization and how the experience of self-organizing is understood by curators in 2022. It investigates the past and current personal lived experiences of four curators through phenomenological methodological, and theoretical approaches. Next, the study explores how their perception correlates with the current curatorial lifeworld. At the core of this study is the hypothesis that in a consolidated lifeworld, curatorial self-organization becomes a model of a joint phenomenological body, functioning as a mechanism of sustainability, balance, and orientation due to the diversity of curatorial practices and experiences of its members. Archival materials and four interviews are at the core of the research. Study results showed that curatorial self-understanding and perception of self-organization are formed very individually; therefore, it would be inaccurate to generalize the phenomenon without having that in mind. Additionally, several internal and external factors played a significant role in the latest formation and perception of the phenomenon. The study also revealed that previous experiences of curatorial self-organizations have not been present in today’s active curatorial lifeworld, existing as familiar yet distant memories. Finally, the study goes beyond its initial hypothesis to find that the current attempt to self-organize curatorially in Sweden can be equated to a tool for curators to self-define, articulate the changing curatorial roles, and re-understand the essence of the profession.

Today, architecture is primarily consumed through interfaces like Instagram, on-line journals, websites, video games and print publications. This is in part due to the fixed geographical position of architecture. Images allow architecture to be distributed to a broader audience. However, images also represent a problematic disembodiment of the built environment. The complicated relationship between architecture and its image is explored in the first section of this paper, Mnemosyne Field through an interrogation of Aby Warburg’s Mnemosyne Atlas. The second section of this paper, Atlas Materia investigates material qualities as conveyors of architectural identity through fieldwork. The material adjacencies and observational imperfections of fieldwork result in an equivocal architectural experience that takes place at the intersection of a city’s physical qualities and the phenomenological response they produce. This paper describes the pedagogical outcome of sensorial mapping strategies that provided a visual and tactile representation of the city of Buffalo, New York. Based on the experience of material properties, the ultimate objective of Atlas Materia is to help establish a link between phenomenology of perception and urban spaces through a material-centered strategy., La arquitectura actual es consumida principalmente por medio de interfaces tales como Instagram, revistas online, sitios web, videojuegos y publicaciones en papel. Esto es debido en parte a la posición geográfica fija de la arquitectura. Las imágenes permiten que la arquitectura sea distribuida a audiencias más amplias. Sin embargo, las imágenes representan también una desconexión problemática con el medio construido. La compleja relación entre la arquitectura y su imagen se explora en la primera parte delpresente texto, Mnemosyne Field, mediante una incursión en el Atlas Mnemosyne de Aby Warburg. La segunda sección, Atlas Materia, investiga las cualidades materiales como vehículos de identidad arquitectónica en trabajos de campo. Las adyacencias materiales y las imperfecciones observables en los estudios in situ desembocan en una experiencia arquitectónica equívoca que tiene lugar en la intersección de las cualidades físicas de la ciudad y las respuestas fenomenológicas que éstas producen. El presente texto describe los resultados pedagógicos de unas estrategias de mapas sensoriales que proporcionaron una representación visual y táctil de laciudad de Buffalo, Nueva York. Basándose en la experiencia de las propiedades materiales, el objetivo último de Atlas Materia es contribuir al establecimiento de vínculos entre la fenomenología de la percepción y los espacios urbanos mediante una estrategia centrada en lo material.

George Eliot predicates the two principal characters of her second novel, The Mill on the Floss (1860), not on fixed traits but on gendered differences in styles of body movement. This chapter approaches the interplay of medicine and mobility through the lens of the feminist phenomenology of perception, situating Eliot’s configuration of the gendered scripts of posture in the proto-orthopaedic discourse of Victorian disciplinary power. The comparison of the characters’ growth into manhood and womanhood showcases Tom Tulliver’s increasing compliance with correct masculine posture and his sister Maggie’s persistent tomboyism in adulthood. Monika Class contends that Eliot’s realist novel engages critically with Victorian postural standards and thus conveys the link of medical and moral norms in a vision towards variable, and even untamed, gender identities. Above all, the configuration of the heroine expands the Victorian repertoire of feminine body movement.

This thesis presents research in creative practice that explores how directorial approach and staging strategies influence stage presence. It focuses on the actor’s experience in devising contemporary theatre for an international audience. My solo performance, A Snail on the Morning Glory, and this dissertation serve together to provide insight into the phenomenon of stage presence from an actor-director’s perspective. This study aims to provide theatre practitioners with strategies that can enhance stage presence in performance, and assist in forging new audiences for theatre today.The research applies a hybrid methodology, combining creative practice and qualitative methods. These methods include phenomenological thinking, the first-person account, the vocative description, the enquiry cycle of action research, and strategies for the devising process that are generated through rehearsal and performance. Drawing on Merleau-Ponty’s phenomenology of perception, I define stage presence as a phenomenon achieved by the synergy between the actor’s drawing power and the audience’s perceptual activity. Stage presence should neither be regarded as just an illusion that denies the actor’s credit, nor received in a manner that isolates the actor from a perceptual relation with the audience and the surrounding environment. This study develops a phenomenological view of stage presence derived from actor-director Joseph Chaikin’s idea of ‘heightened awareness’. For the actor and spectators to obtain the heightened awareness that enhances stage presence, a directorial approach to staging is required to place them into each other’s perceptual focus. This research develops a series of strategies for enhancing stage presence through practice-based inquiry into performing and rehearsing. As a Chinese actor, my experience of observing performances as well as making theatre in Australia and China reveals that strategies for enhancing stage presence can be applied in devising theatre fo

В статье рассматривается влияние французской феноменологической школы в лице Мориса Мерло-Понти на поэтику Аркадия Драгомощенко (1946—2012) — петербургского писателя, занимавшего видное место в русской литературе последней четверти ХХ — начала ХХI в. Интерес к новейшей европейской и американской мысли, характерный для Драгомощенко, сыграл важную роль в его творчестве — и как источник цитат и аллюзий в прозаических и поэтических сочинениях 1980—2000-х гг., и как импульс к структурному преобразованию собственной творческой манеры. Среди философских текстов, сыгравших в этом процессе прецедентную роль, был труд Мориса Мерло-Понти «Феноменология восприятия», английский перевод которого был доступен поэту начиная с 1980-х гг. Специфический вариант феноменологии тела, разрабатываемый французским философом, в 1990-е гг. формирует тот концептуальный аппарат, при помощи которого Драгомощенко средствами художественной литературы рефлексирует собственный творческий метод. В наиболее объемной форме этот процесс представлен в последнем крупном произведении Драгомощенко — романе «Китайское солнце» (1997), который в целом может быть рассмотрен как яркий пример интерференции философского и поэтического языка. То понимание чувственного восприятия и его роли в человеческой субъективности, которое Мерло-Понти отстаивает в «Феноменологии восприятия», используется в романе для анализа того, какое влияние визуальный и кинестетический опыт оказывает на воспринимающего и пишущего субъекта. В романе используются специальные стилистические средства, позволяющие подчеркнуть «феноменологичность» авторского взгляда: многочисленные лирические вставки, ретардации и ретроспекции, функционально маркированное использование определенных грамматических форм (прежде всего, глаголов несовершенного вида в настоящем времени) и др. Эти средства анализируются в статье, чтобы продемонстрировать ту роль, которую «феноменологическая» оптика играет в творчестве Драгомощенко и в эволюции его поэтики от 1980-х гг, This paper considers the influence of the French school of phenomenology represented by Maurice Merleau-Ponty on Akradii Dragomoshchenko’s poetics. Dragomoshchenko (1946—2012) was a St Petersburg writer, an important figure of the Russian literature of the last quarter of the twentieth and early twenty-first centuries. Dragomoshchenko’s interest in the latest European and American thought played an important role in his creative activity both as a source of quotations and allusions in his prose and poetic works written between the 1980s and 2000s and an impulse for a structural transformation of his own creative manner. Phenomenology of Perception by Maurice Merleau-Ponty was a philosophical text which played an important precedent role in the process. Its translation into English became available to the poet starting with the 1980s. A specific variant of the phenomenology of the body worked out by the French philosopher forms a conceptual apparatus in the 1990s, using which Dragomoshchenko reflects his own creative method with the help of fiction. Most comprehensively, the process is represented in Dragomoshchenko’s last major work, Chinese Sun (1997), a novel which can be considered a vivid example of interference of philosophical and poetic language. The understanding of sensory perception and its role in human subjectivity substantiated by Merleau-Ponty in Phenomenology of Perception is used to analyse how visual and kinesthetic experience influences the writer. The novel employs different stylistic means which make it possible to emphasise the phenomenological nature of the author’s approach. Also, the writer uses numerous lyrical insertions, retardations and retrospections, functionally marked use of certain grammatical forms (primarily, verbs of imperfective aspect and present tense), etc. The author of the article analyses such means to demonstrate the role played by the phenomenological perspective in Dragomoshchenko’s creative work and the evolution of his

Drawing on Merleau-Ponty’s Phenomenology of Perception, this paper discusses how in Eudora Welty’s short stories “A Visit of Charity” and “Asphodel” and Alice Munro’s “The Bear Came over the Mountain” memory is used to undermine a character’s sense of self, or how access to “new” memories can empower characters diagnosed with dementia. The texts demonstrate not only how access to memory enables characters to commit themselves in the future but also what the dangers are if a character appears to be locked in the past. The texts further show how the denial of shared memories is employed in different ways.

Är upplevelsen av musik meningsfull och på vilket sätt är det möjligt för ett musikstycke att gestalta en yttre värld? I denna uppsats undersöker jag lite kort vad inom musiken skulle kunna förstås som en mening. Genom att se till olika förhållanden av meningsfullhet och musikalisk upplevelse går det att förstå dess breda förklaringssvårigheter. Meningen ter sig subjektiv men kan också bidra till en kollektiv samstämmighet om ett musikstyckes meningsfullhet. Upplevelsen av musik i sin tur kan hjälpa en kompositör eller artist att gestalta en omvärld för sig själv. Denna gestaltning bebor inte musiken på liknande sätt som en manual beskriver ett tillvägagångssätt utan med hjälp av medlet musik kan artisten uttrycka något som en vokabulär inte möjligtvis är kapabelt till. Med kroppen som länk mellan den yttre världen och subjektets vilja används vanan av att bruka ett instrument som en förlängning för kroppen. Att utgå från kroppen som en medvetandehorisont är något som är nära besläktat till Merleau-Pontys existentiella fenomenologi i Phenomenology of Percetion och utgör en bra grund för denna uppsats. Även om jag inte kommer fram till ett svar ifall musik besitter en mening så har upplevelsen av musik utforskats genom olika musikaliska verk och hur musikalisk gestaltning kan användas för varseblivning., Is the experience of music meaningful and in which way is it possible for a musical arrangement to depict an external world? This essay will firstly examine what meaning within music might refer to. Though there are difficulties to pinpoint an exact definition of meaning in regard to several different experiences of music it seems to originate from the subject itself. Even so, music can possess a collective acceptance within their respective social groups. The experience of music can help a composer to portray a surrounding, not by the virtue of musical characteristics, but by mediating the will of the composer. Unlike a manual which is guiding the reader to take certain steps the composer can express what a vocabulary is lacking by the habit and familiarity of ones instrument as an extension of the performers body to link an external world. This is very much related to the existential phenomenology put forward by Merleau-Ponty in Phenomenology of Perception and on which I base my arguments on. Even though I might not find a meaning within music I have examined the possibility for experiencing music as a way of portraying the surrounding world.

Är upplevelsen av musik meningsfull och på vilket sätt är det möjligt för ett musikstycke att gestalta en yttre värld? I denna uppsats undersöker jag lite kort vad inom musiken skulle kunna förstås som en mening. Genom att se till olika förhållanden av meningsfullhet och musikalisk upplevelse går det att förstå dess breda förklaringssvårigheter. Meningen ter sig subjektiv men kan också bidra till en kollektiv samstämmighet om ett musikstyckes meningsfullhet. Upplevelsen av musik i sin tur kan hjälpa en kompositör eller artist att gestalta en omvärld för sig själv. Denna gestaltning bebor inte musiken på liknande sätt som en manual beskriver ett tillvägagångssätt utan med hjälp av medlet musik kan artisten uttrycka något som en vokabulär inte möjligtvis är kapabelt till. Med kroppen som länk mellan den yttre världen och subjektets vilja används vanan av att bruka ett instrument som en förlängning för kroppen. Att utgå från kroppen som en medvetandehorisont är något som är nära besläktat till Merleau-Pontys existentiella fenomenologi i Phenomenology of Percetion och utgör en bra grund för denna uppsats. Även om jag inte kommer fram till ett svar ifall musik besitter en mening så har upplevelsen av musik utforskats genom olika musikaliska verk och hur musikalisk gestaltning kan användas för varseblivning., Is the experience of music meaningful and in which way is it possible for a musical arrangement to depict an external world? This essay will firstly examine what meaning within music might refer to. Though there are difficulties to pinpoint an exact definition of meaning in regard to several different experiences of music it seems to originate from the subject itself. Even so, music can possess a collective acceptance within their respective social groups. The experience of music can help a composer to portray a surrounding, not by the virtue of musical characteristics, but by mediating the will of the composer. Unlike a manual which is guiding the reader to take certain steps the composer can express what a vocabulary is lacking by the habit and familiarity of ones instrument as an extension of the performers body to link an external world. This is very much related to the existential phenomenology put forward by Merleau-Ponty in Phenomenology of Perception and on which I base my arguments on. Even though I might not find a meaning within music I have examined the possibility for experiencing music as a way of portraying the surrounding world.

Esta investigação une os estudos em comunicação social acerca das tecnologias digitais de informação e comunicação, com foco principalmente nas interações em mídias digitais, com pensamentos filosóficos sobre a construção do conhecimento. Aqui acessamos o paradigma da complexidade e a fenomenologia da percepção, representados respectivamente pelo pensamento de Edgar Morin e Maurice MerleauPonty, para apontar que o conhecimento é um construto do homem conforme sua experiência. É, portanto, contextual, histórico e perceptual, não o contrário, como sugere a ciência moderna em seu intuito de extrair a verdade das coisas. Tendo como base essa discussão, voltamo-nos ao Facebook, maior mídia social digital da atualidade, para vê-lo como viabilizador de intercâmbio de informações e como meio que possibilita a transcendência das limitações de espaço e de tempo em que se encontram os corpos dos participantes das interações comunicacionais. Partimos da ideia de que essa plataforma pode ser vista como uma possibilitadora de expansão das vivências do sujeito no espaço e no tempo, levando-o a pensar novas realidades, que são integradas à construção do conhecimento. Mas, paradoxalmente, as informações são organizadas e o acesso a elas é limitado pela corporação Facebook, que, além disso, provém dados sobre seus usuários para manipulação de mensagens por parte de anunciantes, o que vai balizar o conhecimento de mundo construído e limitar a liberdade do usuário., The research links studies in social communication about digital information and communication technologies, focusing mainly on interactions in digital media, with philosophical thoughts on the construction of knowledge. Here we access the paradigm of complexity and the phenomenology of perception, represented respectively by the thoughts of Edgar Morin and Maurice Merleau-Ponty, to point out that knowledge is a construct of men according to their experiences. It is, therefore, contextual, historical and perceptual, not the opposite, as modern science suggests in its attempt to extract truth from the objects. Based on this discussion, we turn to Facebook, the largest digital social media today, to see it as an enabler of information exchange and as a means of transcending the limitations of space and time in which the bodies of the participants in communicational interactions are. We start from the idea that this platform can be seen as a facilitator to expand the experiences of the subjects in space and time, leading them to think about new realities that are then integrated into the construction of knowledge. However, paradoxically, the information is organized and the access to it is limited by Facebook Corporation, which, in addition, provides data on its users to manipulate messages by advertisers, which will define the limits of knowledge of the world and limit the freedom of its users.

Esta investigação une os estudos em comunicação social acerca das tecnologias digitais de informação e comunicação, com foco principalmente nas interações em mídias digitais, com pensamentos filosóficos sobre a construção do conhecimento. Aqui acessamos o paradigma da complexidade e a fenomenologia da percepção, representados respectivamente pelo pensamento de Edgar Morin e Maurice MerleauPonty, para apontar que o conhecimento é um construto do homem conforme sua experiência. É, portanto, contextual, histórico e perceptual, não o contrário, como sugere a ciência moderna em seu intuito de extrair a verdade das coisas. Tendo como base essa discussão, voltamo-nos ao Facebook, maior mídia social digital da atualidade, para vê-lo como viabilizador de intercâmbio de informações e como meio que possibilita a transcendência das limitações de espaço e de tempo em que se encontram os corpos dos participantes das interações comunicacionais. Partimos da ideia de que essa plataforma pode ser vista como uma possibilitadora de expansão das vivências do sujeito no espaço e no tempo, levando-o a pensar novas realidades, que são integradas à construção do conhecimento. Mas, paradoxalmente, as informações são organizadas e o acesso a elas é limitado pela corporação Facebook, que, além disso, provém dados sobre seus usuários para manipulação de mensagens por parte de anunciantes, o que vai balizar o conhecimento de mundo construído e limitar a liberdade do usuário., The research links studies in social communication about digital information and communication technologies, focusing mainly on interactions in digital media, with philosophical thoughts on the construction of knowledge. Here we access the paradigm of complexity and the phenomenology of perception, represented respectively by the thoughts of Edgar Morin and Maurice Merleau-Ponty, to point out that knowledge is a construct of men according to their experiences. It is, therefore, contextual, historical and perceptual, not the opposite, as modern science suggests in its attempt to extract truth from the objects. Based on this discussion, we turn to Facebook, the largest digital social media today, to see it as an enabler of information exchange and as a means of transcending the limitations of space and time in which the bodies of the participants in communicational interactions are. We start from the idea that this platform can be seen as a facilitator to expand the experiences of the subjects in space and time, leading them to think about new realities that are then integrated into the construction of knowledge. However, paradoxically, the information is organized and the access to it is limited by Facebook Corporation, which, in addition, provides data on its users to manipulate messages by advertisers, which will define the limits of knowledge of the world and limit the freedom of its users.

Esta investigação une os estudos em comunicação social acerca das tecnologias digitais de informação e comunicação, com foco principalmente nas interações em mídias digitais, com pensamentos filosóficos sobre a construção do conhecimento. Aqui acessamos o paradigma da complexidade e a fenomenologia da percepção, representados respectivamente pelo pensamento de Edgar Morin e Maurice MerleauPonty, para apontar que o conhecimento é um construto do homem conforme sua experiência. É, portanto, contextual, histórico e perceptual, não o contrário, como sugere a ciência moderna em seu intuito de extrair a verdade das coisas. Tendo como base essa discussão, voltamo-nos ao Facebook, maior mídia social digital da atualidade, para vê-lo como viabilizador de intercâmbio de informações e como meio que possibilita a transcendência das limitações de espaço e de tempo em que se encontram os corpos dos participantes das interações comunicacionais. Partimos da ideia de que essa plataforma pode ser vista como uma possibilitadora de expansão das vivências do sujeito no espaço e no tempo, levando-o a pensar novas realidades, que são integradas à construção do conhecimento. Mas, paradoxalmente, as informações são organizadas e o acesso a elas é limitado pela corporação Facebook, que, além disso, provém dados sobre seus usuários para manipulação de mensagens por parte de anunciantes, o que vai balizar o conhecimento de mundo construído e limitar a liberdade do usuário., The research links studies in social communication about digital information and communication technologies, focusing mainly on interactions in digital media, with philosophical thoughts on the construction of knowledge. Here we access the paradigm of complexity and the phenomenology of perception, represented respectively by the thoughts of Edgar Morin and Maurice Merleau-Ponty, to point out that knowledge is a construct of men according to their experiences. It is, therefore, contextual, historical and perceptual, not the opposite, as modern science suggests in its attempt to extract truth from the objects. Based on this discussion, we turn to Facebook, the largest digital social media today, to see it as an enabler of information exchange and as a means of transcending the limitations of space and time in which the bodies of the participants in communicational interactions are. We start from the idea that this platform can be seen as a facilitator to expand the experiences of the subjects in space and time, leading them to think about new realities that are then integrated into the construction of knowledge. However, paradoxically, the information is organized and the access to it is limited by Facebook Corporation, which, in addition, provides data on its users to manipulate messages by advertisers, which will define the limits of knowledge of the world and limit the freedom of its users.

Over the last century the use of wearable personal acoustic technologies for the ear in a variety of different guises has become commonplace in daily life. These devices, such as hearing aids and headphones, have the propensity to reshape auditory experience and in turn, the perception of acoustic space by enabling personalised and immersive encounters with sound that alter the user’s understanding of, and relationship to, their surrounding environment. The aim of this study is to explore how acoustic prosthetic devices modify how sound is experienced, and how ensuing changes in auditory acuity affect the user’s perception of acoustic space. To achieve these aims this study compiled an anonymous history of acoustic space through the lens of various acoustic prosthetic technologies for the ear. It presents an historical analysis of the development and application of these personal devices in key areas of innovation and application, in particular hearing aids, the stethoscope, and headphones. In this thesis, a hybrid methodological approach is offered to expand Siegfried Giedion’s contribution to anonymous history by integrating analysis of a postphenomenology of embodiment. This methodology illustrates the ways in which the technological evolution of these devices across history significantly influenced the user’s experience of mediated sound and, in turn, acoustic space. This research provides further insight into, first, the ways in which hearing aids, devices used to ameliorate a deficit in hearing, historically contributed to a reshaping of the user’s perception of acoustic space. Second, this thesis examines how the development and application of the stethoscope marked the beginning of a movement towards the increasing privatisation of mediated listening experiences. Finally, the influence towards private mediated experiences of sound that began to build momentum in the late nineteenth century is explored to foreground the increasingly widespread use of prosthet

Esta investigação une os estudos em comunicação social acerca das tecnologias digitais de informação e comunicação, com foco principalmente nas interações em mídias digitais, com pensamentos filosóficos sobre a construção do conhecimento. Aqui acessamos o paradigma da complexidade e a fenomenologia da percepção, representados respectivamente pelo pensamento de Edgar Morin e Maurice MerleauPonty, para apontar que o conhecimento é um construto do homem conforme sua experiência. É, portanto, contextual, histórico e perceptual, não o contrário, como sugere a ciência moderna em seu intuito de extrair a verdade das coisas. Tendo como base essa discussão, voltamo-nos ao Facebook, maior mídia social digital da atualidade, para vê-lo como viabilizador de intercâmbio de informações e como meio que possibilita a transcendência das limitações de espaço e de tempo em que se encontram os corpos dos participantes das interações comunicacionais. Partimos da ideia de que essa plataforma pode ser vista como uma possibilitadora de expansão das vivências do sujeito no espaço e no tempo, levando-o a pensar novas realidades, que são integradas à construção do conhecimento. Mas, paradoxalmente, as informações são organizadas e o acesso a elas é limitado pela corporação Facebook, que, além disso, provém dados sobre seus usuários para manipulação de mensagens por parte de anunciantes, o que vai balizar o conhecimento de mundo construído e limitar a liberdade do usuário., The research links studies in social communication about digital information and communication technologies, focusing mainly on interactions in digital media, with philosophical thoughts on the construction of knowledge. Here we access the paradigm of complexity and the phenomenology of perception, represented respectively by the thoughts of Edgar Morin and Maurice Merleau-Ponty, to point out that knowledge is a construct of men according to their experiences. It is, therefore, contextual, historical and perceptual, not the opposite, as modern science suggests in its attempt to extract truth from the objects. Based on this discussion, we turn to Facebook, the largest digital social media today, to see it as an enabler of information exchange and as a means of transcending the limitations of space and time in which the bodies of the participants in communicational interactions are. We start from the idea that this platform can be seen as a facilitator to expand the experiences of the subjects in space and time, leading them to think about new realities that are then integrated into the construction of knowledge. However, paradoxically, the information is organized and the access to it is limited by Facebook Corporation, which, in addition, provides data on its users to manipulate messages by advertisers, which will define the limits of knowledge of the world and limit the freedom of its users.

Esta investigação une os estudos em comunicação social acerca das tecnologias digitais de informação e comunicação, com foco principalmente nas interações em mídias digitais, com pensamentos filosóficos sobre a construção do conhecimento. Aqui acessamos o paradigma da complexidade e a fenomenologia da percepção, representados respectivamente pelo pensamento de Edgar Morin e Maurice MerleauPonty, para apontar que o conhecimento é um construto do homem conforme sua experiência. É, portanto, contextual, histórico e perceptual, não o contrário, como sugere a ciência moderna em seu intuito de extrair a verdade das coisas. Tendo como base essa discussão, voltamo-nos ao Facebook, maior mídia social digital da atualidade, para vê-lo como viabilizador de intercâmbio de informações e como meio que possibilita a transcendência das limitações de espaço e de tempo em que se encontram os corpos dos participantes das interações comunicacionais. Partimos da ideia de que essa plataforma pode ser vista como uma possibilitadora de expansão das vivências do sujeito no espaço e no tempo, levando-o a pensar novas realidades, que são integradas à construção do conhecimento. Mas, paradoxalmente, as informações são organizadas e o acesso a elas é limitado pela corporação Facebook, que, além disso, provém dados sobre seus usuários para manipulação de mensagens por parte de anunciantes, o que vai balizar o conhecimento de mundo construído e limitar a liberdade do usuário., The research links studies in social communication about digital information and communication technologies, focusing mainly on interactions in digital media, with philosophical thoughts on the construction of knowledge. Here we access the paradigm of complexity and the phenomenology of perception, represented respectively by the thoughts of Edgar Morin and Maurice Merleau-Ponty, to point out that knowledge is a construct of men according to their experiences. It is, therefore, contextual, historical and perceptual, not the opposite, as modern science suggests in its attempt to extract truth from the objects. Based on this discussion, we turn to Facebook, the largest digital social media today, to see it as an enabler of information exchange and as a means of transcending the limitations of space and time in which the bodies of the participants in communicational interactions are. We start from the idea that this platform can be seen as a facilitator to expand the experiences of the subjects in space and time, leading them to think about new realities that are then integrated into the construction of knowledge. However, paradoxically, the information is organized and the access to it is limited by Facebook Corporation, which, in addition, provides data on its users to manipulate messages by advertisers, which will define the limits of knowledge of the world and limit the freedom of its users.

Vad har kroppen för betydelse vid musikaliskt lärande? I en samhällsstruktur och akademisk tradition, där kroppen mer betraktas som ett transportmedel än som bärare av reell kunskap, ställs frågan i motvind. Denna studie ämnar i första hand undersöka idéstrukturer som omger vår syn på kroppens betydelse för och relation till musikaliskt lärande. Studien är inriktad på att via ett explorativt och fenomenologiskt förhållningssätt avtäcka vad som uppstår i kopplingen mellan percept, rörelse och upplevelse och hur detta kan härledas till kroppens betydelse för musikaliskt lärande. Genom en kvalitativ fallstudie samt presentation av relevanta litteraturstudier visar studien på hur kunskap om kroppen som samlingspunkt för lärande kan generera fler positiva, djupgående och långvariga upplevelser av lärande samt att gammal hämmande programmering kan läras om., What importance does the body hold in a musical learning experience? In a social structure and academic tradition, in which the body is more considered as a means of transport rather than as bearer of real knowledge, the question faces a headwind. This study mainly aims to investigate the preconceptions surrounding our view of the body's relevance and connection to musical learning experiences. The study is designed through an exploratory and phenomenological approach to uncover what occurs in the connection between perception, movement and experience and how to derive the body's importance for musical learning experiences. Through a qualitative case study and presentation of relevant literature, the study shows of how knowledge about the body as the focal point for learning can generate more positive, profound and long-lasting experiences of learning and that old-inhibiting programming can be unlearned.

Vad har kroppen för betydelse vid musikaliskt lärande? I en samhällsstruktur och akademisk tradition, där kroppen mer betraktas som ett transportmedel än som bärare av reell kunskap, ställs frågan i motvind. Denna studie ämnar i första hand undersöka idéstrukturer som omger vår syn på kroppens betydelse för och relation till musikaliskt lärande. Studien är inriktad på att via ett explorativt och fenomenologiskt förhållningssätt avtäcka vad som uppstår i kopplingen mellan percept, rörelse och upplevelse och hur detta kan härledas till kroppens betydelse för musikaliskt lärande. Genom en kvalitativ fallstudie samt presentation av relevanta litteraturstudier visar studien på hur kunskap om kroppen som samlingspunkt för lärande kan generera fler positiva, djupgående och långvariga upplevelser av lärande samt att gammal hämmande programmering kan läras om., What importance does the body hold in a musical learning experience? In a social structure and academic tradition, in which the body is more considered as a means of transport rather than as bearer of real knowledge, the question faces a headwind. This study mainly aims to investigate the preconceptions surrounding our view of the body's relevance and connection to musical learning experiences. The study is designed through an exploratory and phenomenological approach to uncover what occurs in the connection between perception, movement and experience and how to derive the body's importance for musical learning experiences. Through a qualitative case study and presentation of relevant literature, the study shows of how knowledge about the body as the focal point for learning can generate more positive, profound and long-lasting experiences of learning and that old-inhibiting programming can be unlearned.

During the last dictatorship in Argentina, the detained- disappeared were forcibly moved across the territory. The main goal of this article is to analyse what kind of space was produced in and by those transfers. The core of the analysis is based on in-depth interviews done with survivors of concentration camps, relatives of disappeared people and political activities of the 70s. This ethnographic work had allowed me to tackle the following characteristics of this “space on the move”: (1) the possibility to orient in a “withdraw world”; (2) the disturbed body and their distorted perception; (3) the epistemological status of adjectival truths; and last, (4) the way in which the space of transfer is guess on community, Durante la última dictadura militar en Argentina, los detenidos-desaparecidos fueron desplazados a lo largo del territorio. El objetivo general de este artículo consiste en analizar el espacio que se produce en y por este desplazamiento forzado (“el traslado”). A partir del análisis de entrevistas en profundidad hechas a sobrevivientes de centros clandestinos de detención y familiares de desaparecidos en la provincia de Tucumán, abordo los siguientes nudos problemáticos: (1) la posibilidad de orientarse/ubicarse en un mundo replegado; (2) el cuerpo “alterado” y su percepción distorsionada; (3) el estatuto epistemológico de las “verdades adjetivadas” que conforman el espacio del traslado; y (4) el modo en que el espacio del traslado se adivina en comunidad.

[EN] During the last dictatorship in Argentina, the detaineddisappeared were forcibly moved across the territory. The main goal of this article is to analyse what kind of space was produced in and by those transfers. The core of the analysis is based on in-depth interviews done with survivors of concentration camps, relatives of disappeared people and political activities of the 70s. This ethnographic work had allowed me to tackle the following characteristics of this “space on the move”: (1) the possibility to orient in a “withdraw world”; (2) the disturbed body and their distorted perception; (3) the epistemological status of adjectival truths; and last, (4) the way in which the space of transfer is guess on community., [ES] Durante la última dictadura militar en Argentina, los detenidos-desaparecidos fueron desplazados a lo largo del territorio. El objetivo general de este artículo consiste en analizar el espacio que se produce en y por este desplazamiento forzado (“el traslado”). A partir del análisis de entrevistas en profundidad hechas a sobrevivientes de centros clandestinos de detención y familiares de desaparecidos en la provincia de Tucumán, abordo los siguientes nudos problemáticos: (1) la posibilidad de orientarse/ubicarse en un mundo replegado; (2) el cuerpo “alterado” y su percepción distorsionada; (3) el estatuto epistemológico de las “verdades adjetivadas” que conforman el espacio del traslado; y (4) el modo en que el espacio del traslado se adivina en comunidad.