This essay offers an analysis of Paul Auster's novel Invisible. The main focus of the essay is on the incestuous love affair between Adam Walker and his sister Gwyn. It is argued that the novel via this incestuous affair is addressing the issue of the unrepresentable, what Lacan termed the “real” that lies beyond the symbolic order. It is shown that the concept of the unrepresentable has been a central theme in Auster's work throughout his career. The main theoretical foundation of the essay is Julia Kristeva's theories regarding the “abject.” A summary of Kristeva's theories is therefore offered, as well as a summary of research into the incest taboo.

The aim of this dissertation is to reflect on economic methodology. To reflect means to think about the relationship between researcher and the object of research. The object in mainstream economics is fixed in market realm. When the object is fixed then the focus in economic study is the method. Mainstream economics used equilibrium analysis method in order to make the research outcome be certainty. In the process of pursuing certainty the ontology of the object is neglected. The de-centering strategy we applied is deconstruction concept. My main reason for taking Derrida¡¦s deconstruction as a starting point is to de-center the fixed center which operating mechanism is the invisible hand. In this dissertation the logic of deconstruction is ¡§neither..or..¡¨ form and the steps are to undo and displace. In order to emphasize the multiples means and the relation of knowledge and power we use the term discourse. In chapter four we undo ¡§the invisible hand¡¨ metaphor that is the center of market. The direct consequence of the undo process is the finding of the ontological implication. In chapter five we displace ¡§the invisible hand¡¨ metaphor. Through rereading Adam Smith¡¦s methodology we interpret invisible hand as causal relation and find the same ontological implication. Together with these two processes above we find out the inspiration for reflection of economic methodology that is to answer the most fundamental question about what is the economic object. In chapter six we call for discussion to bringing the ontology back into economics. We believe the study of economic ontology is a prerequisite for understanding economics as a scientific discipline. It is thus intended and hoped that this reflection will help to beyond the opposite between positivism and post-positivism. For the defined goal to coordinate the opposite we introduce philosopher Quine¡¦s ontological method called ontological commitment. After the reflection we claim ¡Gthe method such as formation and econometric is important, but if we can emphasize the ontology of research object then the study will be activity. The defense of this claim is the main subject of this dissertation. Finally we just point out that if the claim is accepted, then something along this line of the attention is essential to the practice researcher. That is to take more time to think the nature of the research object when he construes a model.

The purpose of this study was to explore the lived experience of health promotion for a group of young adult African American men with invisible disabilities. This hermeneutic phenomenological study used a non-experimental, descriptive design. The purposive sample consisted of 11 young adult, English-speaking, non-institutionalized, African American men with invisible disability between the ages of 25 and 39 years of age living in the Central Texas metropolitan area. This study's research questions were answered using audio-taped, one-on-one qualitative interviews along with detailed fieldnotes. Participants were interviewed twice at a mutually decided upon location to ensure the privacy and comfort of participants. For these young men, an essential component of health promotion involved the reestablishment and reorganization of their bodies in the world while adjusting to living with disability. For them, the essential structure of health promotion was comprised of the following themes: Reconciling Perspectives of the Self, Embracing the Current Body, and Reorienting the Body in the World. Their lived experience of health promotion was reflected in the following themes: Risking the Body to Preserve the Self, Accepting the Evolving Body, and Seeking the Body's Redemption. For this group of young adult African American men, their health promotion experience required risking the body, putting the needs of the self before the needs of the body, and then accepting and valuing the resulting condition of the body. / text

The Piagetian invisible displacement task has been used extensively in the field of comparative cognition to measure representational capacity. In the task a desirable object is hidden beneath one of several hiding boxes via a displacement device, such as a small opaque container. Success on the task is deemed to require that the invisible trajectory of the object be mentally represented and its current location inferred. That is, the task is supposed to measure the ability to ”think” of something that is occurring outside of direct perception. However, simple associative strategies may also lead to success in the absence of stringent control conditions. Among mammals, only great apes and domestic dogs have consistently performed above chance on the invisible displacement task. There is much converging evidence from other tasks to suggest that great apes have a capacity for representational thought. However, dogs have shown few signs of possessing the representational abilities generally thought necessary to pass the task. Thus, in Chapter 2, four experiments investigated how dogs (n = 35) find an object that has been invisibly displaced behind one of three opaque boxes under four control conditions devised to separate associative search strategies from performance based on mental representation. Strategies involving experimenter cue-use, search at the last or first box visited by the displacement device, and search at boxes adjacent to the displacement device were systematically controlled for. Dogs passed invisible displacements, but only if the device used to displace the object was adjacent to the target box following displacements. These results suggest that the search behaviour of dogs was guided by simple associative rules rather than mental representation of the past trajectory of the object. In contrast, Experiment 5 found that, on the same task, 18- and 24-month-old children (n = 21) showed no disparity between trials in which the displacement device was adjacent or non-adjacent to the target box. In Chapter 3, two chimpanzees were tested on single invisible displacements under the same four control conditions that were administered to dogs. In contrast to dogs, chimpanzees showed no indications of utilizing these simple strategies, suggesting that their capacity to mentally represent single invisible displacements is comparable to that of 18- to 24-month-old children. Chapter 4 followed up reports of children and apes' difficulty with double invisible displacements in which an object is hidden at two non-adjacent boxes in a linear array. Experiment 1 eliminated the possibility that chimpanzees' previous poor performance was due to the hiding direction of the displacement device. Subjects failed double non-adjacent displacements, showing a tendency to select adjacent boxes. In Experiments 2 and 3, chimpanzees and 24-month-old children were tested on a new adaptation of the task involving four hiding boxes presented in a diamondshaped array on a vertical plane. Both species performed above chance on double invisible displacements using this format, suggesting that previous poor performance was due to a response bias or inhibition problem rather than a fundamental limitation in representational capacity. In Chapter 5, I conducted a pilot study examining the performance of siamangs and a spider monkey on single and double invisible displacements. Performance was mixed but provides some promising evidence that invisible displacements are within the capacity of siamangs. In contrast to siamangs and chimpanzees, but like dogs, the spider monkey showed a significant tendency to search at a box adjacent to the displacement device on single invisible displacements. However, the spider monkey performed above chance on an impromptu test of single invisible displacements presented in the vertical format. Further study is needed to eliminate alternative associative strategies in these two species. In Chapter 6, I discuss the findings of the studies with dogs, chimpanzees, 2- year-old children, siamangs, and a spider monkey on invisible displacement understanding. The results highlight the importance of associative strategies and inhibition problems. The thesis presents strong evidence for stage 6 invisible displacement understanding, and thus representational thought, in chimpanzees and 2- year-old children, but suggests that dogs are capable of only stage 5 object permanence understanding.

The Piagetian invisible displacement task has been used extensively in the field of comparative cognition to measure representational capacity. In the task a desirable object is hidden beneath one of several hiding boxes via a displacement device, such as a small opaque container. Success on the task is deemed to require that the invisible trajectory of the object be mentally represented and its current location inferred. That is, the task is supposed to measure the ability to ”think” of something that is occurring outside of direct perception. However, simple associative strategies may also lead to success in the absence of stringent control conditions. Among mammals, only great apes and domestic dogs have consistently performed above chance on the invisible displacement task. There is much converging evidence from other tasks to suggest that great apes have a capacity for representational thought. However, dogs have shown few signs of possessing the representational abilities generally thought necessary to pass the task. Thus, in Chapter 2, four experiments investigated how dogs (n = 35) find an object that has been invisibly displaced behind one of three opaque boxes under four control conditions devised to separate associative search strategies from performance based on mental representation. Strategies involving experimenter cue-use, search at the last or first box visited by the displacement device, and search at boxes adjacent to the displacement device were systematically controlled for. Dogs passed invisible displacements, but only if the device used to displace the object was adjacent to the target box following displacements. These results suggest that the search behaviour of dogs was guided by simple associative rules rather than mental representation of the past trajectory of the object. In contrast, Experiment 5 found that, on the same task, 18- and 24-month-old children (n = 21) showed no disparity between trials in which the displacement device was adjacent or non-adjacent to the target box. In Chapter 3, two chimpanzees were tested on single invisible displacements under the same four control conditions that were administered to dogs. In contrast to dogs, chimpanzees showed no indications of utilizing these simple strategies, suggesting that their capacity to mentally represent single invisible displacements is comparable to that of 18- to 24-month-old children. Chapter 4 followed up reports of children and apes' difficulty with double invisible displacements in which an object is hidden at two non-adjacent boxes in a linear array. Experiment 1 eliminated the possibility that chimpanzees' previous poor performance was due to the hiding direction of the displacement device. Subjects failed double non-adjacent displacements, showing a tendency to select adjacent boxes. In Experiments 2 and 3, chimpanzees and 24-month-old children were tested on a new adaptation of the task involving four hiding boxes presented in a diamondshaped array on a vertical plane. Both species performed above chance on double invisible displacements using this format, suggesting that previous poor performance was due to a response bias or inhibition problem rather than a fundamental limitation in representational capacity. In Chapter 5, I conducted a pilot study examining the performance of siamangs and a spider monkey on single and double invisible displacements. Performance was mixed but provides some promising evidence that invisible displacements are within the capacity of siamangs. In contrast to siamangs and chimpanzees, but like dogs, the spider monkey showed a significant tendency to search at a box adjacent to the displacement device on single invisible displacements. However, the spider monkey performed above chance on an impromptu test of single invisible displacements presented in the vertical format. Further study is needed to eliminate alternative associative strategies in these two species. In Chapter 6, I discuss the findings of the studies with dogs, chimpanzees, 2- year-old children, siamangs, and a spider monkey on invisible displacement understanding. The results highlight the importance of associative strategies and inhibition problems. The thesis presents strong evidence for stage 6 invisible displacement understanding, and thus representational thought, in chimpanzees and 2- year-old children, but suggests that dogs are capable of only stage 5 object permanence understanding.

Magíster en artes con mención en dirección teatral / La presente investigación se centra en el estudio del cabaret mexicano contemporáneo de la Ciudad de México, como un género teatral que destaca a nivel espectacular, por la presentación de elementos satíricos, esto es, vinculados a la crítica social y al humor, desde un tratamiento eminentemente performativo de los recursos escénicos, que requiere de un marco de copresencia fundamental entre actores y público. Nuestro primer objetivo es aportar al campo de los estudios de teatro latinoamericano contemporáneo una herramienta de análisis de puesta en escena que permita relevar los rasgos esenciales de este formato en tanto sátira y en tanto performance. Nuestro segundo objetivo es trasvasar experimentalmente elementos dramáticos y performativos del cabaret mexicano y el Teatro Invisible para construir un nuevo formato teatral de cabaret contemporáneo, aplicado al espacio público. Metodológicamente esta tesis implicó la revisión bibliográfica de fuentes sobre historia y teoría del teatro, la realización de entrevistas directas a creadores de cabaret contemporáneo, la observación de puestas en escena, la identificación de rasgos comunes, la presentación de un modelo de observación apropiado para el género, y el diseño y realización de un proyecto creativo. El resultado del proceso implicó en su nivel teórico, la definición del cabaret mexicano como un género de sátira contemporáneo, que dramáticamente está vinculado a la farsa, y utiliza el humor inclusivo para revisar críticamente temáticas socialmente contingentes, vinculadas a la exclusión y la explotación, revalorando el imaginario popular mexicano. Dentro de sus aspectos performativos destaca ante todo, el juego de presencia y representación, la copresencia y cocreación de la vivencia espectacular por parte de actores y espectadores, y el distanciamiento que persigue la producción performativa de la materialidad escénica. A nivel experimental esta tesis desembocó en la realización del proyecto creativo Cabaret Invisible desarrollado en el transporte público de la ciudad de Santiago.

abstract: The burden of adaptation has been a major limiting factor in the adoption rates of new wearable assistive technologies. This burden has created a necessity for the exploration and combination of two key concepts in the development of upcoming wearables: anticipation and invisibility. The combination of these two topics has created the field of Anticipatory and Invisible Interfaces (AII) In this dissertation, a novel framework is introduced for the development of anticipatory devices that augment the proprioceptive system in individuals with neurodegenerative disorders in a seamless way that scaffolds off of existing cognitive feedback models. The framework suggests three main categories of consideration in the development of devices which are anticipatory and invisible: • Idiosyncratic Design: How do can a design encapsulate the unique characteristics of the individual in the design of assistive aids? • Adaptation to Intrapersonal Variations: As individuals progress through the various stages of a disability/neurological disorder, how can the technology adapt thresholds for feedback over time to address these shifts in ability? • Context Aware Invisibility: How can the mechanisms of interaction be modified in order to reduce cognitive load? The concepts proposed in this framework can be generalized to a broad range of domains; however, there are two primary applications for this work: rehabilitation and assistive aids. In preliminary studies, the framework is applied in the areas of Parkinsonian freezing of gait anticipation and the anticipation of body non-compliance during rehabilitative exercise. / Dissertation/Thesis / Doctoral Dissertation Computer Science 2020

Esta tese é o resultado dos meus quatro anos de investigação e vivências em que meu corpo de pesquisadora performer foi sendo contaminado pelas informações dos ambientes em que circulou. A hipótese está amparada por uma investigação que foi se processando em busca pelas opressões que cerceiam meu corpo, de mulher, mulher negra, feminista, periférica. Essas contaminações encarnearam meu corpo num processo de embrutecimento, que se materializa em Bruta. Destaca-se, neste contexto, o pensamento do Teatro Invisível de Augusto Boal (2009), em diálogo com a performance estudada por autoras como Josette Féral (2015), Ileana Diéguez (2011), Diana Taylor (2013) e Judith Butler (2003 e 2018). Nesses diálogos, meu corpo foi se contaminando também pela Teoria Corpomídia (Katz e Greiner, 2006), num processo criativo em que arte e vida, agir e conhecer, ocupam um mesmo espaço (Bastos, 2017). A metodologia inspira-se nas fases da Lua, enquanto evocação da Mulher nas suas diversas instâncias, das implicações de vivências na elaboração de um discurso. Meu deslocamento dá-se pela via de um relato: uma artista do corpo em suas performances invisíveis, isto é, manifestações de uma experimentação performativa, que emerge da necessidade de compartilhar este processo em que o corpo foi encarneando Existências Bruta. / This thesis is the result of four years of investigation and experiences where my body as a researcher performer was contaminated by information from the environments it circulated. The hypothesis is supported by an exploration in search of the oppressions surrounding my body, that of a woman, of a black woman, of a feminist, a marginalized body. These exposures infleshened my body in a process of brutishness, which culminated in Raw. Highlighted, in this context, is the thinking of the Invisible Theatre from Augusto Boal (2009), in dialogue with performances studied by Josette Féral (2015), Ileana Diéguez (2011), Diana Taylor (2013) e Judith Butler (2003 e 2018). With these dialogues, my body was also exposed to Teoria Corpomídia (Katz e Greiner, 2006), in a creative process where art and life, acting and knowing, occupy the same space (Bastos, 2017). The methodology is inspired by the phases of the moon, as evocation to Woman in their several instances, the implications from experiences to elaboration of a speech. My movement happens through a narration: an artist of the body in her invisible performances, therefore, manifestations of a performative experimentation that emerges from the necessity of sharing this process where the body was infleshning Raw Existences.

Esta tese é o resultado dos meus quatro anos de investigação e vivências em que meu corpo de pesquisadora performer foi sendo contaminado pelas informações dos ambientes em que circulou. A hipótese está amparada por uma investigação que foi se processando em busca pelas opressões que cerceiam meu corpo, de mulher, mulher negra, feminista, periférica. Essas contaminações encarnearam meu corpo num processo de embrutecimento, que se materializa em Bruta. Destaca-se, neste contexto, o pensamento do Teatro Invisível de Augusto Boal (2009), em diálogo com a performance estudada por autoras como Josette Féral (2015), Ileana Diéguez (2011), Diana Taylor (2013) e Judith Butler (2003 e 2018). Nesses diálogos, meu corpo foi se contaminando também pela Teoria Corpomídia (Katz e Greiner, 2006), num processo criativo em que arte e vida, agir e conhecer, ocupam um mesmo espaço (Bastos, 2017). A metodologia inspira-se nas fases da Lua, enquanto evocação da Mulher nas suas diversas instâncias, das implicações de vivências na elaboração de um discurso. Meu deslocamento dá-se pela via de um relato: uma artista do corpo em suas performances invisíveis, isto é, manifestações de uma experimentação performativa, que emerge da necessidade de compartilhar este processo em que o corpo foi encarneando Existências Bruta. / This thesis is the result of four years of investigation and experiences where my body as a researcher performer was contaminated by information from the environments it circulated. The hypothesis is supported by an exploration in search of the oppressions surrounding my body, that of a woman, of a black woman, of a feminist, a marginalized body. These exposures infleshened my body in a process of brutishness, which culminated in Raw. Highlighted, in this context, is the thinking of the Invisible Theatre from Augusto Boal (2009), in dialogue with performances studied by Josette Féral (2015), Ileana Diéguez (2011), Diana Taylor (2013) e Judith Butler (2003 e 2018). With these dialogues, my body was also exposed to Teoria Corpomídia (Katz e Greiner, 2006), in a creative process where art and life, acting and knowing, occupy the same space (Bastos, 2017). The methodology is inspired by the phases of the moon, as evocation to Woman in their several instances, the implications from experiences to elaboration of a speech. My movement happens through a narration: an artist of the body in her invisible performances, therefore, manifestations of a performative experimentation that emerges from the necessity of sharing this process where the body was infleshning Raw Existences.

Cette thèse explore les figures de la revenance et de la hantise d'un point de vue politique et esthétique, c'est-à-dire dans leur rapport à la société et à l'image. A cette fin le cinéma est le champ d'expérimentation et de manipulation puisque le cinéma, et notamment le cinéma américain, fait partie de ces mythologies modernes qui ont bercé le XXe siècle, avec ses histoires, codes et figures imposées. Les images produites par le cinéma sont ancrées dans l'inconscient et l'imagerie collectifs des spectateurs. C'est donc toute sa grammaire qui est à l'étude sous l'angle du mort-vivant : du héros au second rôle, de la perspective saturée du décor au hors-champ mortel. Si le zombie est la figure de proue de cette thèse, il s'agit moins de l'étudier d'un point de vue ethnographique que d'user de ses particularités afin de questionner le visible sur le mode de la persistance, de la pratique du retour incessant et de l'envahissement, c'est-à-dire comme une forme de résistance. Les revenants dévoilent lentement mais inexorablement l'envers du décor et délimitent une nouvelle topographie, déplacent les seuils et les frontières convenus : entre morts et vivants, entre visible et caché, entre champ et hors-champ. Les limites de l'espace et du corps sont mises à l'épreuve. Dans ma pratique, cette redéfinition des limites transforme l'image et l'univers filmique en ce que l'on pourrait nommer des « limbes filmiques » par des actions simples dans et sur l'image cinématographique : envahissement, contamination, pourrissement, corruption, dévoration, prolifération, raréfaction. Les morts-vivants revisitent ainsi, tels de riches touristes, les mythologies du cinéma. / The thesis explores the concepts and figures of revenance and haunting from a political and aesthetic point of view that is to say in their relation to historical and social contingencies, the real and the image. Cinema, and in particular American cinema, forms a significant part of the modern mythologies that have rocked the cradle of the 20th century, with its stories, codes and figures. The images produced by cinema are seamlessly embedded and archived in the spectator's unconscious and the collective imagery. I aim to reconsider the grammar of cinema through the angle of the living dead: the supporting roles as well as the principal characters, the saturated perspective of the sets as much as the deadly off-screen. The zombie is the figurehead of the thesis, but my purpose is less about studying it from ethnographical point of view than of making use of its particularities to question the visible on the mode of persistence, of the practice of the unceasing comebacks and of invasion, that is to say as an act of resistance. The revenants unveil slowly but inexorably the secrets beyond the door, and mark the boundaries of a new topography, shifting and altering the seemingly fixed thresholds; accessing the space between the dead and the living, in between the visible and the hidden, and in between on-screen and off-screen. This redefining of the margins and the boundaries transforms the image and the filmic universe into what could be called « cinematic limbo » by simple actions in and on the image: invasion, contamination, rotting of, corruption, devouring of, proliferation. The living dead continuously revisit, like sad tourists, the mythology of the cinema.