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Hidastamisen utopian ilmentymiä
Get PDFKirja-arvio. Mikko Piispa: "Liikkuvia utopioita, hidastamisen politiikkaa: Tutkimus nuorista liikkeessä ilmastokriisin ajassa". Nuorisotutkimusseuran julkaisuja 239. Nuorisotutkimusseura, 2022. 215 s
Sateenkaariasiakkaat sosiaalityön palvelujärjestelmissä:näkyväksi tulemisen ja tunnustamisen kysymykset
No full textSuhteissa rakentuva lapsen suru:lapsen suruun liittyvän tiedon muotoutuminen sosiaalialan ammattilaisten työssä
Get PDFArtikkelissa analysoidaan, miten lapsen suruun liittyvä tieto välittyy ja miten sitä jäsennetään sosiaalisena ja suhteisiin kiinnittyvänä ilmiönä sosiaalialan ammattilaisten työssä. Analyysi pohjautuu tammi-kesäkuussa 2022 kerättyyn ryhmähaastatteluaineistoon (N=5; 17) ja nostaa esiin kolme tulkintakehystä: kontekstuaalis-situationaalisen, läheissuhteiden sekä professionaalisen suhteen tulkintakehykset. Kontekstuaalis-situationaalisessa tulkintakehyksessä lapsen suruun vaikuttavat kaikki hänen ympärillään olevat suhteet sekä yhteiskunnalliset ja kulttuuriset tekijät. Läheis-suhteiden tulkintakehyksessä lapsen surua tarkastellaan lapsen lähipiiriin kuuluvien aikuisten toiminnan kautta, kun taas professionaalisen suhteen tulkintakehyksessä painottuvat ammattilaisen toiminta ja suhde lapseen. Näiden suhteiden tunnistaminen edellyttää ammattilaiselta lapsen tilan-teen ymmärtämistä ja luottamuksellisen suhteen rakentamista, jotta lapsi voi jakaa surustaan tuottamaansa tietoa. Tulkintakehykset avaavat uuden-laisen tavan merkityksellistää lapsen surustaan tuottamaa tietoa sosiaalialan ammatillisten kohtaamisten kontekstissa.<br/
Knowing with the Sea Trout:Place-Specific Artwork for Addressing Environmental Conflict
No full textIn this chapter, I discuss a socially engaged environmental artwork titled Kuerin Matka (Kueri’s Journey) and its related video work. The artwork was created in the summer of 2018 in collaboration with the Art Äkäslompolo art event. In response to local wishes, the event critically considered the plan for the Hannukainen iron ore mine, which was proposed to be located near the village of Äkäslompolo, adjacent to the Pallas-Yllästunturi National Park in northern Finland. Kueri’s Journey was carried out using an arts-based action research approach to create a dialogic space for locals to express not only opinions, worries, and fears but also wishes and hopes regarding inevitable environmental and cultural changes. At the core of the chapter is the concept of new genre Arctic art, which is used to reflect on contemporary art that actively considers changes in the northern and Arctic regions. Central to this is the encounter between Western contemporary art practices and northern ways of knowing nature. In my chapter, I elaborate on the basis of new genre Arctic art and processes of Kueri’s Journey artwork using the concepts of northern ecoculture, knowing-with, decolonization, revitalization, resilience, and Arctic sustainability transformation
Outdoors goes online:tourist gaze in social media for visitor monitoring and management
No full textVisual representations of destinations have always inspired travellers. Commissioned paintings were employed to promote the allure of untouched nature, challenging earlier perceptions of perilous wilderness. Staged photographs, postcards, and popular media served similar promotional purposes. However, the advent of social media has brought about a significant shift. It’s no longer just about sharing holiday snapshots with friends back home. Through global social media platforms, visitors inspire others about where to visit and what to see. This shift from traditional media to user-generated content means that social media users now have an impact on the tourist gaze outside government policies, environmental planning, or visitor management control. At the same time, managers of protected recreational areas have faced the challenge of meeting the needs of increased outdoor recreation and visitations to protected areas while safeguarding their ecological integrity. The increasing influence of social media as travel inspiration highlights the need for a better understanding of how social media impacts visitors and its potential contributions to visitor management. In this study, I explored how social media impacts visitors gaze in protected nature recreational areas, using the example of Kilpisjärvi and the Käsivarsi Wilderness Area in northwestern Finnish Lapland. The research question is divided into three sub-questions: 1) What is posted on social media about visits to Kilpisjärvi and the Käsivarsi Wilderness Area? 2) How does this content reinforce or challenge existing perceptions of nature? 3) What insights do social media and Big Data informationgathering methods offer for visitor monitoring? I situated these research questions within the theoretical framework of the cultural construct of nature. To provide a longitudinal perspective on how our perception of nature is shaped by cultural and social influences, I explored the role of visual arts in wilderness discourses from the Romantic era to the present social media age. Next, I studied social media as a platform reflecting the tourist gaze: it is where the visitors share visual narratives, shaping the interpretation of landscapes and co-creating destination imagery. This characteristic of social media has allowed for several quantitative and qualitative visitor monitoring studies in the last years. The social media data, which was collected in 2019, consists of images that underwent analysis using both a computer vision programme for image analysis and manual categorisation techniques. Textual data was manually classified. I reflect on the consequent quantitative data with netnographic observations and ultimately use spatial analysis to overlay the social media data onto the geological, political, and environmental context of Kilpisjärvi. This study reveals that visitors’ social media posts from Kilpisjärvi often perpetuate colonialist and romanticised imagery of wilderness landscapes. Large open landscapes dominate the selected content, while images depicting individual elements of ecological nature or local everyday life and cultures are relatively few. Social media demonstrates a strong feeling of community, which strengthens, at unprecedented speed, the power of its impact on the tourist gaze, framing nature into sharable images. These results suggest that social media guides visitors to nature destinations primarily to admire landscapes, often overlooking ecological aspects. This tendency may foster a superficial relationship with nature. Furthermore, social media propagates a colonial discourse by marginalizing local and indigenous cultures, rendering them invisible within the landscapes depicted. This study contributes to the evolving research field by providing further evidence of the usability and limitations of social media data for visitor monitoring. Additionally, it advances qualitative interpretations of spatial and quantitative social media data through novel use of viewshed analysis to study visitor preferences. Finally, I have addressed the challenge for visitor management to balance the social media’s benefits in promoting destinations with its potential to shape the tourist gaze and limited representations of nature through shareable images.Visual representations of destinations have always inspired travellers. Commissioned paintings were employed to promote the allure of untouched nature, challenging earlier perceptions of perilous wilderness. Staged photographs, postcards, and popular media served similar promotional purposes. However, the advent of social media has brought about a significant shift. It’s no longer just about sharing holiday snapshots with friends back home. Through global social media platforms, visitors inspire others about where to visit and what to see. This shift from traditional media to user-generated content means that social media users now have an impact on the tourist gaze outside government policies, environmental planning, or visitor management control.At the same time, managers of protected recreational areas have faced the challenge of meeting the needs of increased outdoor recreation and visitations to protected areas while safeguarding their ecological integrity. The increasing influence of social media as travel inspiration highlights the need for a better understanding of how social media impacts visitors and its potential contributions to visitor management.In this study, I explored how social media impacts visitors gaze in protected nature recreational areas, using the example of Kilpisjärvi and the Käsivarsi Wilderness Area in northwestern Finnish Lapland. The research question is divided into three sub-questions: 1) What is posted on social media about visits to Kilpisjärvi and the Käsivarsi Wilderness Area? 2) How does this content reinforce or challenge existing perceptions of nature? 3) What insights do social media and Big Data informationgathering methods offer for visitor monitoring?I situated these research questions within the theoretical framework of the cultural construct of nature. To provide a longitudinal perspective on how our perception of nature is shaped by cultural and social influences, I explored the role of visual arts in wilderness discourses from the Romantic era to the present social media age. Next, I studied social media as a platform reflecting the tourist gaze: it is where the visitors share visual narratives, shaping the interpretation of landscapes and co-creating destination imagery. This characteristic of social media has allowed for several quantitative and qualitative visitor monitoring studies in the last years.The social media data, which was collected in 2019, consists of images that underwent analysis using both a computer vision programme for image analysis and manual categorisation techniques. Textual data was manually classified. I reflect on the consequent quantitative data with netnographic observations and ultimately use spatial analysis to overlay the social media data onto the geological, political, and environmental context of Kilpisjärvi.This study reveals that visitors’ social media posts from Kilpisjärvi often perpetuate colonialist and romanticised imagery of wilderness landscapes. Large open landscapes dominate the selected content, while images depicting individual elements of ecological nature or local everyday life and cultures are relatively few. Social media demonstrates a strong feeling of community, which strengthens, at unprecedented speed, the power of its impact on the tourist gaze, framing nature into sharable images. These results suggest that social media guides visitors to nature destinations primarily to admire landscapes, often overlooking ecological aspects. This tendency may foster a superficial relationship with nature. Furthermore, social media propagates a colonial discourse by marginalizing local and indigenous cultures, rendering them invisible within the landscapes depicted.This study contributes to the evolving research field by providing further evidence of the usability and limitations of social media data for visitor monitoring. Additionally, it advances qualitative interpretations of spatial and quantitative social media data through novel use of viewshed analysis to study visitor preferences. Finally, I have addressed the challenge for visitor management to balance the social media’s benefits in promoting destinations with its potential to shape the tourist gaze and limited representations of nature through shareable images
Protection of Investors on Intermediary’s Insolvency:Systemic Observations on the Finnish Securities Accounts Act
Get PDFMuodon muisti: tekstiilitaiteen sivuaineen ryhmänäyttely : kuratointi
No full textMuodon muisti on Lapin yliopiston tekstiilitaiteen sivuaineen ryhmänäyttely ja osa Rovaniemen kaupungin Alvar Aalto -juhlavuoden tapahtumia. Taiteilijat lähestyvät teoksillaan Alvar Aallon muotokieltä, materiaalisuutta ja arjen estetiikkaa sekä tarkastelevat muodon muistia: miten materiaalit kantavat mukanaan elettyä aikaa, kokemuksia ja kulttuurisia kerroksia. Aallon suunnittelussa orgaaninen muoto ja rakennettu ympäristö eivät ole vastakohtia, vaan ne sulautuvat yhteen, aivan kuten kude ja loimi kankaassa. Aallon ikoniset muodot, aaltoilevat linjat, luonnon innoittamat rakenteet ja ihmisläheinen mittakaava elävät tässä näyttelyssä uudessa pehmeässä muodossa.Taiteilijat tulkitsevat Aallon arkkitehtuuria, esineitä ja suunnittelufilosofiaa tekstiilitaiteen keinoin. Moniaistinen käsillä tekeminen, muisti ja kokemuksellinen tilallisuus ovat viitoittaneet tekstiiliteosten syntyä. Taiteilijat ovat syventyneet esimerkiksi kuosisuunnitteluun, värjäyksen ja kudonnan tekniikoihin, tuftaukseen sekä valokuvalliseen ilmaisuun. Eri tekniikoin valmistetut teokset eivät jäljittele Aallon estetiikkaa, vaan käyvät vuoropuhelua hänen ajattelunsa kanssa. Näyttely on kunnianosoitus suunnittelijalle, jonka työt muistuttavat meitä siitä, että muoto voi olla sekä funktionaalista että runollista.Näytteilleasettajat: Enni Jantunen, Iida Järvenpää, Milla Kauppila, Tanya Koivisto, Krista Meriläinen, Oona Salo, Jerika Savilampi, Tiia-Noora Silander, Sylvi Siltavirta, Susanna Tiainen, Tuulia Tolonen, Aino Viinikainen ja Ella Vuori.<br/
Coopetition
Get PDFCoopetition (simultaneous cooperation and competition) and innovation are often linked. Coopetition facilitates the acquisition and exchange of knowledge between partners, enables the joint development of technologies, and allows firms to share the risks and costs associated with innovation. Coopetitive innovation is based on temporal or continuous relationships and is often intentional but sometimes unintentional. Furthermore, the number and features of partners affect the types of coopetitive innovation, whether radical or incremental. Its processes contain tension, which can be reduced by transactional and relational governance. Furthermore, the time horizon of coopetition and the various fluctuations between the competitive and cooperative impact the periodic success and challenges of coopetitive innovation. Interesting further research themes are green innovations and the role of artificial intelligence in coopetitive innovations, for example