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Change is a constant condition of everyday life that we experience and transition through while often maintaining a sense of stability and continuity. But inevitably we come across disruptive changes that call into question the meanings we take for granted and thereby rupture life as we know it. How do those changes affect our rhythms of living? How do we make meaning of the changes and subsequently act upon them? How do individual, social, and environmental changes reciprocally influence one another? These are the guiding questions of this paper. The questions are explored by means of a sociocultural psychological approach to ruptures in the life-course coupled with Lefebvre's rhythmanalysis. It is argued that those questions can be investigated within five interrelated analytical domains; time, space, the body, social others, and symbolic resources. Rather than primarily emphasizing adaptation to change, the analytical framework's key focus is meaning-making, looking at how we integrate or resist new rhythms in our lives.

This paper presents a theoretical and methodological approach to analysing images in public space as part of a transformative visual dialogue in everyday life. Images are conceptualised through the lens of sociocultural psychology and analytically approached through the metaphor of 'the social life of images,' by which the life cycle of images is followed as they respond and borrow from one another in a continuous dialogue. The analytical framework starts by situating the image and identifying its spatial and temporal contexts. Then, it considers the social actors influencing the image's social life and the different stages in an image's trajectory. Leading to an analysis of the political dynamics of an image and its potential symbolic power to influence the public discourse. Examples from street art, online, and news images will be used to illustrate the analytical approach. ; This paper presents a theoretical and methodological approach to analysing images in public space as part of a transformative visual dialogue in everyday life. Images are conceptualised through the lens of sociocultural psychology and analytically approached through the metaphor of 'the social life of images,' by which the life cycle of images is followed as they respond and borrow from one another in a continuous dialogue. The analytical framework starts by situating the image and identifying its spatial and temporal contexts. Then, it considers the social actors influencing the image's social life and the different stages in an image's trajectory. Leading to an analysis of the political dynamics of an image and its potential symbolic power to influence the public discourse. Examples from street art, online, and news images will be used to illustrate the analytical approach.

This thesis looks at visual images as psychological and political tools for social action. Social actors produce images to represent and propagate particular versions of social reality. These images are in turn interpreted, transformed, reconstructed, and destroyed by other social actors in a continuous process of negotiating social reality and the power of representing it in the public space.

This is a longitudinal study of the identity process through times of dramatic social change. Using a narrative psychological approach this research follows the life stories of five Egyptian bloggers as they write their stories on online blogs over the course of the three years following the 2011 revolution, at which time Egypt has witnessed major social and political changes. The aim is to understand the identity process of individuals as they develop and adapt through changing social contexts and how they create alternative social relations as they engage in prefigurative politics. The findings shed light on how ruptures trigger a process of reflexivity, adaptive learning, and sense-making that facilitates coping and the reconstruction of a positive identity after ruptures. It also suggests that the narration of the experience of rupture through storytelling creates a heightened sense of agency in individuals' ability to create new meanings of their world in spite of the socio-cultural and political constraints. This study presents narratives as an informing methodological resource that connects identity process with social representations and emphasizes the value of storytelling as an integral part of the adaptation process.

Intro -- Contents -- List of Figures -- Introducing the Street Art of Resistance -- Revolutionary Graffiti in Egypt: A Case Example -- Social Life of Images -- The Symbolic Nature of Images -- Social Actors and Dialogue -- Context -- Transformation of Images -- On the Multiple Forms of Art and Resistance -- The Chapters to Follow -- References -- Part I: Theories of Aesthetics, Resistance and Social Change -- Art and Social Change: The Role of Creativity and Wonder -- Creativity and Social Change -- How is Street Art Creative? -- Creativity, Perspectives, and Wonder -- Social Change, Art, and Collective Wonder -- Final Reflections -- References -- Subjectivity, Aesthetics, and the Nexus of Injustice: From Traditional to Street Art -- Economic-Political Injustice -- Injustices of Representation, Recognition, and Interaction -- Subjectification as Injustice -- Conditions for the Possibility of Resistance: From Traditional to Street Art -- References -- Resisting Forms: Prolegomena to an Aesthetics of Resistance -- Intervening Art -- The Aesthetic Threshold -- Graffiti and Street Art as Expressive Objects -- The Energies of Graffiti and Street Art -- Between Medium and Subject Matter -- Communication and Critique -- References -- Part II: Image Circulation and Politics -- Indigenous Images of Democracy on City Streets: Native Representations in Contemporary Chilean Graffiti and Muralism -- Introduction -- The Emergence of Street Art in Chile -- Indigenous Activism and Politics -- The Unstable Reception of Indigenous Imagery -- Indigenous Iconographies: Meli Wuayra -- Indigenous Iconographies: Gigi's Luisas -- Indigenous Iconographies: Inti's Ekeko and Ekeka -- Conclusion -- References -- The Resistance Passed Through Here: Arabic Graffiti of Resistance, Before and After the Arab Uprisings -- Introduction -- Graffiti as Counter-Narrative.

Abstract: How are ideas transformed into collective causes that can rally and sustain protest crowds? We present a theoretical framework of crowd mobilization through the perspective of distributed cognition. We look at protest crowds as distributed processes that happen across brains, bodies, social interactions, and material-technological resources. This perspective is illustrated by protest crowd dynamics as they are facilitated by social interaction, symbols, narrative forms, and physical and virtual spaces.