Le droit d’exposition comme la prérogative patrimoniale du droit d’auteur est l’objet de notre étude. L’exposition publique de l’œuvre est assimilée à un mode d’exploitation au sens du droit d’auteur, c’est une comme une utilité reconnue, réservée à l’auteur. Pourtant l’exercice de ce droit se caractérise par une confusion dans les pratiques contractuelles. L’objet d’art et l’œuvre de l’esprit se confondent. La primauté du droit de la propriété matérielle joue un rôle important dans la reconnaissance du droit d’exposition à une œuvre de l’esprit. Pourtant celle-ci s’incarne dans une matière afin d’être perceptible au sens. L’exposition publique de l’œuvre est le mode de communication d’une œuvre de l’esprit au sens du droit de représentation. / The right of public exhibition right like a copyright law for the artistic works is objective of our research. Public exhibition can be assimilated to a traditional mode of exploitation of artworks. This mode of exploitation of artworks can be recognised by the copyrights and reserved by artiste. But the exhibition right has been confused in the contract practice. The artistic work see like an objetct. The copyright can not be recognised for the artworks because of the material object. But the works of artistes like artistic work and they artistic expression are communicated to the public in exhibition. This is an exploitation of artistic work in the public exhibition.

A study on skills among healthcare workers investigates how healthcare workers use skills in difficult caring contexts, aiming to describe how practical knowledge is employed in decision making in occuring situations. The dialogue seminar method, with it’s elements of reading and writing to explore practical knowledge, was used to gather information. Contributing healthcare workers represent a multiplicity of experiences and perspectives. Their narratives on caring dilemmas are presented and used as framework for the study. The author creates an analogy between caring dilemmas and performing knowledge in professional art work. The narratives of the healthcare workers has been arranged in a documentary composition and on several occasion presented to a wider audience in order to make a reality-check on the study’s conclusions. The study shows how terms from professional art work such as presence, interpretation and reflexive techniques are useful in understanding skills of healthcare workers. The investigation also points out problems related to the inability of healthcare organizations to comprehend and acknowledge the practical dimension of healthcare workers skills. The study has been carried out within the KTH Advanced Programme for Reflective Practice presented at www.dialoger.se. / QC 20100823

With rapid change in social and economic surroundings in Taiwan, consumption behavior of Taiwanese changes gradually. College students maybe are the group that changes their behaviors significantly in this environment. They start to emphasize their ¡§personal style.¡¨ For most young people, purchasing is not only related to their needs, but also related to brands, design, and package. Therefore, how to combine ¡§arts¡¨ and ¡§brand¡¨ in order to attract young people¡¦s attention and satisfy their tastes is a key factor for enterprises in the future. After all, what interesting results will be generated if a product is included both ¡§art work¡¨ and ¡§a terrific brand¡¨? Will young people become the major consumers for those commodities? Are their consumer behaviors different from other groups? And what factors motive them to buy those products? These questions are discussed in this study. The purposes of this research are as follows: to understand young people¡¦s consumer behavior on commodities which are combination of art work and a brand; to understand what factors encourage young people to buy the product; and to make sure the acceptance of these communities in the market. Survey research was chosen as methodology in this research. The target population was college and graduate students in Taipei. Drop-off survey was major method for collecting data. Three hundred ninety-seven samples were sent out, 302 samples were returned, and 291 were valid. The valid response rate was 96.36%. According to the result, the acceptable degree in the market for these commodities was high. Clothing/Accessory, 3C, and sport products were the primary choices of young people. When college students purchased these commodities, they thought uniqueness and artistry were most important, and prices as well as quality were second important. Regarding to sales promotion, young people preferred discount and limit edition. Reasons for buying these commodities were to please themselves and enjoy the design. Most young people would buy these commodities because of their brands; however they also cared about the impression and style of artists.Generally speaking, young people showed positive attitudes and sound impressions for the corporation between artists and brands.

Le metal symphonique est un genre musical qui mêle la musique classique à la musique metal. Nightwish, un groupe d'origine finlandaise, est parmi les représentants les plus reconnus du genre. Prenant pour point de départ les œuvres musicales de ce dernier, la présente recherche interroge, d'un point de vu sociologique, la dimension combinatoire de son metal symphonique. Des sources d'origines différentes – le metal symphonique a tout d'un oxymore – sont assemblées, peut-être continuées par Nightwish. De la construction collective d'un groupe qui modèle, par les particularités individuelles de ses membres, les œuvres qu'il réalise, aux pratiques des amateurs de Nightwish, en passant par les influences du groupe et son monde imaginaire, cette thèse suit – dans le processus de l'œuvre – la trace de la continuation. D'un acteur du monde Nightwish à l'autre, l'œuvre musicale ne serait-elle pas un processus continué, une résurrection, à chaque audition, d'une créature mythique, créée et recréée sans cesse ? / Symphonic metal is a musical genre that mixes classical music with metal music. Nightwish, a band from Finland, is one of the most recognized of the genre. Starting with its musical art works, this thesis questions, with a sociological approaches, the combinatorial dimension of its symphonic metal. References sources from different origins – symphonic metal has everything of an oxymoron – are assembled, maybe continued by Nightwish. From the collective elaboration of a band which models, by the individual peculiarities of its members, the art works it makes, to Nightwish' amateurs practices, by way of the influences of the band and its imaginary world, this thesis follows – in the art work process – the idea of continuation. From an actor of Nightwish' world to another, would musical art work not be a continued process, a resurrection, at each listening, of a mythic creature, made and remade, again and again?

The candidate´s work aims to compare art work of pupils at two different educational institutions: a regular primary school and a Waldorf school. The first chapter of the theoretical part deals with specific features of waldorf pedagogy in comparison to that in the traditional educational system. The second chapter outlines the development of children´s art skills, especially at the second level of a primary school. The practical part analyses a set of 82 drawings of a human figure and a Sentence Completion Test collected from the sixth and ninth grade pupils of both schools. The aim of this work is to discern possible differences in the children´s creativity at both types of schools.

The diploma thesis is called "Sensory experience in art education." The theoretical part explores sensory perception through the knowledge of philosophy, psychology and art theory. It contains examples of the art works of the selected artists. It also deals with the content of RVP in relation to sensory perception and didactics of art education, with a specific purpose of designing an art project in art education. The essence of the didactic part is to devise an art project with the focus on human senses. Each of the tasks is centred on one of the senses: sight, smell, hearing, touch and taste. This project is further tested in practice with the help of the second grade students of elementary school and high school. The results are then analysed and evaluated. The amended form of the project can be currently used by art teachers. The selected tasks are the basis for the creative, authorial process of art work, which reflects the effect of the tasks and develops the students' further abilities.

Living in the new and unreal world of technology and computers, we realize how much humans are separated from nature, which means the actual connection between our soul, brain, and body to the real and touchable environment and experiencing in-person connections. Since birth, we have a special connection with nature and so we realize that nature gives us feelings of peace and happiness. Staying close to nature makes us feel alive from the inside and it reduces stress, depression and, negative emotions and it improves our mental, physical, and spiritual health condition., Ultimately, it gives us motivation and hope in life. To explore the architectural implications of these ideas, I have designed a Museum of Art in Washington DC, beside the Kenilworth Aquatic Gardens of water lilies. In my project, I propose how to stay in touch with nature as a visitor who is walking through each part of the museum. From each exhibition room to the next, there is a break to a special view of nature and water to take a deep breath of fresh air. This also makes the viewer understand the artwork inside before entering each room. Bringing outside nature to the inside and creating a connection between the viewer, view, and artwork gives the visitors a break from the world of technology and makes them connect to the blue and green world which is integral with human nature. The connection between the site and the building makes the viewers feel at home when they are exploring the exhibition rooms to see the artworks since nature is our first home. This is how my design explains my thesis as you are walking through this heavenly art world. / Master of Architecture / Living in the new and unreal world of technology and computers, we realize how much humans are separated from nature, which means the actual connection between our soul, brain, and body to the real and touchable environment and experiencing in-person connections. Since birth, we have a special connection with nature and so we realize that nature gives us feelings of peace and happiness. Staying close to nature makes us feel alive from the inside and it reduces stress, depression and, negative emotions and it improves our mental, physical, and spiritual health condition., Ultimately, it gives us motivation and hope in life. To explore the architectural implications of these ideas, I have designed a Museum of Art in Washington DC, beside the Kenilworth Aquatic Gardens of water lilies. In my project, I propose how to stay in touch with nature as a visitor who is walking through each part of the museum. From each exhibition room to the next, there is a break to a special view of nature and water to take a deep breath of fresh air. This also makes the viewer understand the artwork inside before entering each room. Bringing outside nature to the inside and creating a connection between the viewer, view, and artwork gives the visitors a break from the world of technology and makes them connect to the blue and green world which is integral with human nature. The connection between the site and the building makes the viewers feel at home when they are exploring the exhibition rooms to see the artworks since nature is our first home. This is how my design explains my thesis as you are walking through this heavenly art world.

<p>Tema ovog rada bazira se na neorealističkom pokretu i istraživanju uzročnika koji su doveli do njegovog nastanka, specifičnostima koje on, kao intenzivan umetnički pokret, poseduje i korelaciji između dela koje čine njegovo jezgro. Poseban osvrt načinjen je ka analizi odnosa i interpoziciji fotografske i filmske umetnosti kao vizuelnim, ontolo&scaron;ki bliskim, medijima.<br />Istraživanje fenomena italijanskog neorealizma, ukazalo je na ogromni izvor raznovrsnog sadržaja koji se mogu istraživati i analizirati na vi&scaron;e različitih principa. Stoga su i ciljevi istraživanja postavljeni prema potrebama pitanja pozicioniranja neorealističkog pokreta u istorijski i umetnički kontekst: ispitivanje uzročnika koji su doveli do stvaranja i egzistiranja neorealističkog pokreta, istorijskih činilaca, izvora i prethodnicama u literaturi, &scaron;tampanim medijima i filmskoj i fotografskoj umetnosti.&nbsp;<br />Za polaznu tačku istraživanja, termin neorealizam postavljen je u svoj istorijski kontekst da bi se postavila tačka &quot;oslonca&quot; za dalje analize, na koju su se kasnije mogli bazirati svi zaključci izvedeni iz pojedinih oblasti: neorealizam u filmu i fotografiji, internacionalni uticaj na autore neorealizma filma i fotografije, socijalno-istorijski uticaj na tlu Italije u periodu pre, tokom i neposredno nakon trajanja neorealističkog pokreta, kao i analiza filmskih i fotografskih neorealističkih dela.<br />Svaka oblast istraživanja pružila je određene činjenice i saznanja koja su, postavljena u kontekst teme ovog rada, omogućila sagledavanje jedne nove, &scaron;ire slike o neorealističkom pokretu, zasnovanom ne samo na postulatima uslovljenim i oblikovanim socijalno-fizičkim uslovima, kao primarnim pri nastanku neorealizma, nego uzima u obzir i sve ostale činioce i pozicionira ih u istu ravan sa gore navedenim, pro&scaron;irujući tako op&scaron;ti pogled na dela nastala u ovom periodu. Sledeći tragove istraživanja koji su ukazivali na nove bitne elemente, stvorila se &scaron;ira mreža relacija i informacija koja je uputila na dublju povezanost uzročnika neorealizma. Prožimanje istorijskih činjenica, dokazane relacije, poznanstva i saradnje autora, uticaj književnosti, filmske i fotografske umetnosti, vodile su do daljih zaključaka koji su se udaljavali od ustaljene teze o neorealizmu kao pokretu koji je eksplodirao stvaralačkom energijom i kreativnim izrazom, kao posledica terora fa&scaron;ističke diktature tokom Drugog svetskog rata, a potom oslobođenja, i sirovog izraza uslovljenog nema&scaron;tinom i oskudicom materijala, koji su diktirali formu i teksturu filmske i fotografske neorealističke forme.<br />Prilikom sumiranja činjenica koje su se izdvajale kao krucijalni delovi analiza, pokazalo se da se mnoge od njih sistematski ponavljaju i potvrđuju svoje prisustvo u ostalim kategorijama, kao i to da svaka od njih ima korene koji se prepliću i time ukazuju i na dublju povezanost u istorijskom kontekstu. Ovakav &quot;bihejviorizam&quot; podataka postepeno je doveo do realizacije zaključka, postavljenog ne samo na osnovu uporedne gramatike ovih podataka i kreiranja lingvistike filmskog i fotografskog neorealizma nego i na uporednoj analizi najkarakterističnijih dela filmskog i fotografskog neorealizma.<br />Ukratko, rezultati sumirani u formi zaključka, donose nov osvrt na umetnost neorealizma, pozicioniran na uporednoj analizi gore pomenutih činilaca i utemeljenog na faktivnim tvrdnjama i zaključcima, kao i na subjektivnom doživljaju i analizi dela. Neorealizam se, nakon ovakve analize, pojavio u svetlu umetničkog pokreta koji je svoje korene imao u periodu koji mu je neposredno prethodio, ali i u socijalno-istorijskim uticajima na tlu Italije, umetnostima filma, fotografije i književnosti, &scaron;tampanim i vizuelnim medijima u tridesetim i četrdesetim godinama dvadesetog veka, kao i specifičnom italijanskom nacionalnom duhu koji je neorealizmom odgovorio na specifične te&scaron;ke uslove u državi u ratnom i posleratnom periodu. Pored toga, dokazana je veza između fotografske i filmske umetnosti, koja zalazi i izvan granica teoretske povezanosti samih tehnolo&scaron;kih karakteristika medija. Ove dve umetničke discipline dokazano su egzistirale kao samosvesne oblasti (i vi&scaron;e od fromalne povezanosti u doba neorealizma), ali sa velikom i snažnom vezom koja je obostrano uticala na njih putem saradnje autora, preplitanja uticaja, interakcije medija.</p> / <p>The subject matter of the doctoral thesis is the origin, international influence and mutual factor of the cinematic and photographic neorealist art.</p>

A quelle(s) logique(s) répondent les dispositifs de création réalisés par Antonin Artaud et David Nebreda ? Quel statut attribuer à leurs « œuvres », si tant est que l’on puisse accoler cette appellation à leurs travaux ? Pour répondre à ces questions, nous mènerons une réflexion d’ordre esthétique et nous nous interrogerons parallèlement sur la spécificité du processus de création dans la psychose. Nous étudierons les productions d’Artaud et de Nebreda sous l’angle de la mise en scène et de la performativité. Nous mettrons également en lumière l’abolition de la représentation, l’effondrement de la scène et les limites du jeu / je. Nous montrerons ainsi la prédominance des registres Réel et Imaginaire conçus par Jacques Lacan. Chez ces « artistes » transgressant les frontières des genres et de l’art, les manifestations incontrôlées du corps et les conflits intrapsychiques donnent lieu à des recréations simultanées du monde et du langage, qui, en même temps qu’elles s’apparentent au déroulement d’une cérémonie de mise à mort, tracent des signes inédits, forment d’étranges parcours et s’orientent vers l’horizon d’une nouvelle naissance. / Which logic is guiding the multimodal creations proposed by Antonin Artaud and David Nebreda ? What kind of status can be applied to their “(art)works” ? In order to answer these questions, we will lead an esthetical research and study concurrently the specificities of the creative process in psychosis. We will examine Artaud’s and Nebreda’s productions through the notions of setting and performativity. We will underline the abolition of representation and the crumbling of the stage as well as the limits of play / subjectivity. We will show the predominance of the Real and Imaginary registers as they have been conceived by JacquesLacan. By Artaud and Nebreda, the uncontrolled corporal manifestations and the intra-psychicconflicts generate simultaneous recreations of the body and language as, in the same time, they achieve a sort of sort killing ceremony, tracing unseen signs, outlining strange trails and pointing toward the horizon of a new birth.

The study deals with the creation of gallery educational programs based on cooperation with artists and curators. The text is divided into two parts. In the theoretical part we try to define theoretical discursive field of art, galleries and gallery education. In the practical part we design gallery educational programs in cooperation with the artists and verify them with the children's group. KEYWORDS gallery education, discourse, visual culture, art work, contemporary art