Notre travail s’inscrit dans le cadre d’une problématique générale articulée autour du thème de l’assemblage dans le secteur des activités de services, et s’intéresse notamment au concept novateur de l’assemblage dynamique des chaînes logistiques multiservices. Face à l’ampleur du champ d’investigation dans les services et à l’hétérogénéité des activités possibles, nous avons circonscrit notre étude à un seul secteur : celui de l’industrie du voyage et nous nous sommes interrogés sur les principaux rôles et fonctions d’un nouvel acteur que nous qualifions de « pivot assembleur », d’une part pour la création des chaînes logistiques multiservices, et d’autre part pour leur pilotage dynamique. Nous avons tenté de répondre à une question de recherche centrale: « Quelles compétences clés permettent au pivot assembleur d’une chaîne logistique multiservices d’en assurer l’assemblage dynamique ? ». Les principaux apports de notre travail ont été d’une part de proposer une véritable compétence organisationnelle d’assembleur de chaîne logistique multiservices, mobilisée autour de quatre dimensions, et d’autre part de contribuer plus largement à la recherche sur le management opérationnel des services, et tout particulièrement sur celui des « service supply chains », ainsi que d’aider les différents gestionnaires et assembleurs de chaînes logistiques en général, à mieux prendre en compte leurs aspects dynamiques et temporels. / Our job registers as part of general problems articulated around the topic of the assemblage in the area of the activities of services, and is notably interested in the innovative concept of the dynamic assembly of the multiservice logistical chains. Facing the largeness of the field of investigation in services and in the heterogeneity of possible activities, we circumscribed our study in the single area: the one of travel industry and we have tried to figure out the main roles and functions of a new actor we describe as « pivot assembleur », on the one hand for the creation of multiservice logistical chains, and on the other hand for their dynamic piloting. We tried to answer a central research question: “Which core competences enable the multiservice logistical chains “pivot assembleur” to ensure its dynamic assembly?” The main contributions of our work have been on the one hand to offer a true organizational competence for a multiservice logistical chains of chain assembler, mobilized around four dimensions, and on the other hand, to contribute more broadly at the research about the service operations management, and particularly on service supply chains, as well as to help different managers and supply chain’s assemblers generally, to better take account of dynamic and temporal aspects.

Este trabalho explora a produção do artista Farnese de Andrade, mais especificamente as suas assemblages. Na busca pela singularidade destas, a pesquisa mergulha nas possíveis relações existentes entre elas e o conceito freudiano denominado unheimlich. Tais relações podem ser encontradas em distintos objetos, especialmente nas recorrentes peças nas quais o corpo fragmentado é elemento constituinte, seja por meio de esculturas de divindades, de pedaços de bonecas ou de ex-votos. Questões como a morte, a literatura fantástica e a memória colonial brasileira, cada uma a seu modo, contribuem de maneira fundamental para o desenvolvimento da pesquisa / This investigation explores the production of the artist Farnese de Andrade, more specifically his assemblages. In them, the research tries to find their singularity and deeply investigates the possible relationship among them and the Freudian concept denominated as unheimlich. Such relationships can be found in different objects, especially in the recurrent pieces in which the fragmented body is the constituent element, whether by the use of divinity sculptures, pieces of dolls or ex-votes. Matters as death, fantastic literature and Brazilian colonial period, each in its own way, fundamentally contribute to the development of this inquire

Este trabalho explora a produção do artista Farnese de Andrade, mais especificamente as suas assemblages. Na busca pela singularidade destas, a pesquisa mergulha nas possíveis relações existentes entre elas e o conceito freudiano denominado unheimlich. Tais relações podem ser encontradas em distintos objetos, especialmente nas recorrentes peças nas quais o corpo fragmentado é elemento constituinte, seja por meio de esculturas de divindades, de pedaços de bonecas ou de ex-votos. Questões como a morte, a literatura fantástica e a memória colonial brasileira, cada uma a seu modo, contribuem de maneira fundamental para o desenvolvimento da pesquisa / This investigation explores the production of the artist Farnese de Andrade, more specifically his assemblages. In them, the research tries to find their singularity and deeply investigates the possible relationship among them and the Freudian concept denominated as unheimlich. Such relationships can be found in different objects, especially in the recurrent pieces in which the fragmented body is the constituent element, whether by the use of divinity sculptures, pieces of dolls or ex-votes. Matters as death, fantastic literature and Brazilian colonial period, each in its own way, fundamentally contribute to the development of this inquire

En analysant trois romans des écrivains américains, l'auteur de cette thèse examine courantes attitudes envers la notion de paranoïa et théorie de conspiration. L'auteur envisage comment cela permet de constituer une manière de dépasser le type de pouvoir centrée sur la capacité d’agir compris comme exclusivement humaine, ou plus spécifiquement, de deprivilégier la position humain dominante ce qui ouvre la possibilité pour les approches posthumaines de causalité d'émerger. Le première étape est d'établir au début que les deux conceptions (paranoïa et conspiration) provoquent la peur intrinsèque des origines de cause et de pouvoir d’agir. La croyance que ce n'est pas moi-même qui est responsable de mes propres actions, ou que c'est quelqu'un d'autre qui décide et provoque les évènements et mes actions implique le problème et l’inquiétude sur l’origine d’un action. / On the basis of a detailed and thorough study of three novels of American writers,the author of the present thesis questions the current attitudes towards paranoia andconspiracy theory and claims that challenging these, constitutes a way of going beyondhuman-centered types of agency ; or more specifically, of de-privileging human agency andallowing for post-humanist approaches of causality to emerge. The first step is to state thatboth concepts bring about the inherent fear about the origin of cause and agency. The beliefthat it is not myself who is responsible for my own actions, or that there is someone else whois pulling the strings, necessarily involves the problem of agency.

In this thesis, I apply Gilles Deleuze and Felix Guattari’s ontology of becoming to my own learning, thinking and writing. The adopted method - nomadic inquiry, is derived from the philosophising of Deleuze, whose concepts function as pedagogic values that I mobilise throughout my writing and perform – not merely explain, to problematise common perceptions of the thesis, supervision and doctoral experience. Deleuze resists models that inhibit context-specific creativity, yet I can readily identify the defining features of my own supervision: resolutely student-centred, facilitative of free experimentation, supportive of my becoming as an academic subject and the writing through which this was achieved. Non-teleological nomadic writing does not preclude strategic intent. Hence, the thesis records the process of my learning but equally functions as a crucial resource for additional and post-doctoral writing. It was conceived as a ‘body without organs’ – a surface of inscription for affective learning processes arising in a supervisory assemblage where rigid distinctions between self and other proved unsustainable. Contra characterisation of doctoral research as solitary scholarly activity, the heterogeneity and relationality of learning emerges through my writing and in the areas to which I am drawn in my theoretical engagement. I consider former academic experiences and characterise my current supervisory assemblage as rhizomatic - a complex relational space where connections are continually made, but not fixed, in the knowledge-seeking process. Such connections are not wholly undetermined but reveal processes of stratification and destratification. I seek to show that the creative potential of the rhizomatic supervisory assemblage lies in the tensions thereby generated. I also lay bare sedimented resistances that arise as I mobilise the concept of theoretical assemblage and connect with writers like Butler and Cixous. This thesis defies the ascetic ideal pervading normative accounts of doctoral experience, academic textual production and theoretical engagement. It embodies my desire to embrace an ontology of becoming and its pedagogic corollaries.

Certain aspects of sculptural assemblage remain largely unexamined in an academic context. I contend that this mode of practice is not in need of theorisation, but that it can fruitfully be brought into dialogue with philosophy. Doing so may shed light upon assemblage and the contextual thinking which frames it. I undertake the re-evaluation of this medium by means of a reflexive engagement with the processes and concerns of my own assemblage practice. By detailing the shifts and movements of my own making, I explore the tensions and connections inherent in the historical development of this media. I discuss a connection (or family resemblance) between aspects of my sculptural practice and Ludwig Wittgenstein’s methods of grammatical disruption and displacement. I argue that thinking about sculptural assemblage grammatically provides a way of re-framing the relationship between my artworks and their contexts. This in turn facilitates an examination of the practical and philosophical implications of the ‘fittingtogether-ness’ of assemblage. It also brings into view a possible re-thinking of relations in a way that emphasises connective potential rather than difference or similarity.

The thesis consisted of a series of paintings in which the canvases were individually painted in a predetermined way, then arranged and assembled more spontaneously in a final wall construction. Narrow limitations, such as working with only horizontal and vertical compositions and contrasting colors were specified. By working within a method or procedure, and by remaining strict to these guidelines, the ideas inherent in the paintings emerged and were then promoted. The dominant ideas that developed out of the process of making the paintings were the use of both "found" shapes -found in leftover lengths of support material-and "found" means of dividing the canvas, found in statistical information culled from current events in the newspaper. Also, the idea of unifying the painting with contrasting shapes, colors, surfaces, and values arose out of the process. The actual results of the painting process became clearer during the "spontaneous assembling of the paintings." The final wall constructions were made by arranging the individual canvases in different configurations and then mounting them on the wall. After the paintings went to the wall, possibilities for alteration and how they interacted with the wall could be seen.

Uma educação por entre as linhas. Uma multiplicidade de textos. Freqüências díspares e sonoridades singulares. Este é o jogo. Intercessores são secretamente convocados. Gilles Deleuze e Félix Guattari. Samuel Beckett. Antonin Artaud. Virginia Woolf. Henry Miller. Franz Kafka. Maurice Blanchot. Friedrich Nietzsche. A cada repetição uma diferença de intensidade. Linhas que atravessam um tempo, uma vida, um pensamento. E o jogo continua. Mais intercessores são chamados. Clarice Lispector. Fernando Pessoa. Roland Barthes. Mikhail Bakhtin. E outros tantos, mais imperceptivelmente, quem sabe. E os conceitos? Talvez se encontrem ali, transversalmente às linhas do texto. Mal vistos? Mal ditos? / An education between the lines. A multiplicity of texts. Mismatched frequencies and singular sonorities. This is the name of the game. Intercessors are secretly summoned. Gilles Deleuze and Félix Guattari. Samuel Beckett. Antonin Artaud. Virginia Woolf. Henry Miller. Franz Kafka. Maurice Blanchot. Friedrich Nietzsche. With each repetition a difference of intensity. Lines which traverse a time, a life, a thought. And the game goes on. New intercessors are invited. Clarice Lispector. Fernando Pessoa. Roland Barthes. Mikhail Bakhtin. And so many others, more imperceptibly, who knows. And what about the concepts? Maybe they can be found out there, cutting the lines of the text. Ill seen? Ill said?

Uma educação por entre as linhas. Uma multiplicidade de textos. Freqüências díspares e sonoridades singulares. Este é o jogo. Intercessores são secretamente convocados. Gilles Deleuze e Félix Guattari. Samuel Beckett. Antonin Artaud. Virginia Woolf. Henry Miller. Franz Kafka. Maurice Blanchot. Friedrich Nietzsche. A cada repetição uma diferença de intensidade. Linhas que atravessam um tempo, uma vida, um pensamento. E o jogo continua. Mais intercessores são chamados. Clarice Lispector. Fernando Pessoa. Roland Barthes. Mikhail Bakhtin. E outros tantos, mais imperceptivelmente, quem sabe. E os conceitos? Talvez se encontrem ali, transversalmente às linhas do texto. Mal vistos? Mal ditos? / An education between the lines. A multiplicity of texts. Mismatched frequencies and singular sonorities. This is the name of the game. Intercessors are secretly summoned. Gilles Deleuze and Félix Guattari. Samuel Beckett. Antonin Artaud. Virginia Woolf. Henry Miller. Franz Kafka. Maurice Blanchot. Friedrich Nietzsche. With each repetition a difference of intensity. Lines which traverse a time, a life, a thought. And the game goes on. New intercessors are invited. Clarice Lispector. Fernando Pessoa. Roland Barthes. Mikhail Bakhtin. And so many others, more imperceptibly, who knows. And what about the concepts? Maybe they can be found out there, cutting the lines of the text. Ill seen? Ill said?

Uma educação por entre as linhas. Uma multiplicidade de textos. Freqüências díspares e sonoridades singulares. Este é o jogo. Intercessores são secretamente convocados. Gilles Deleuze e Félix Guattari. Samuel Beckett. Antonin Artaud. Virginia Woolf. Henry Miller. Franz Kafka. Maurice Blanchot. Friedrich Nietzsche. A cada repetição uma diferença de intensidade. Linhas que atravessam um tempo, uma vida, um pensamento. E o jogo continua. Mais intercessores são chamados. Clarice Lispector. Fernando Pessoa. Roland Barthes. Mikhail Bakhtin. E outros tantos, mais imperceptivelmente, quem sabe. E os conceitos? Talvez se encontrem ali, transversalmente às linhas do texto. Mal vistos? Mal ditos? / An education between the lines. A multiplicity of texts. Mismatched frequencies and singular sonorities. This is the name of the game. Intercessors are secretly summoned. Gilles Deleuze and Félix Guattari. Samuel Beckett. Antonin Artaud. Virginia Woolf. Henry Miller. Franz Kafka. Maurice Blanchot. Friedrich Nietzsche. With each repetition a difference of intensity. Lines which traverse a time, a life, a thought. And the game goes on. New intercessors are invited. Clarice Lispector. Fernando Pessoa. Roland Barthes. Mikhail Bakhtin. And so many others, more imperceptibly, who knows. And what about the concepts? Maybe they can be found out there, cutting the lines of the text. Ill seen? Ill said?