La libre disposition de soi doit-elle accueillir des limites imposées par le Droit ? Une première approche, instinctive,est de répondre par la négative car le Droit n’aurait pas vocation à s’ingérer dans les rapports intimes que l’on entretient avec soi et qui ne concernent en conséquence pas la société. Il faut pourtant se rendre à l’évidence : le Droit est légitime à intervenir dans la libre disposition de soi car l’intimité est poreuse, et laisse passer entre ses mailles la présence d’autrui, ce qui autorise les pouvoirs publics à intervenir ponctuellement dans ce domaine a priori dédié à la vie privée. C’est à l’aune de l’ordre public que le législateur ou les juges déterminent si la libre disposition de soi peut s’épanouir sans danger pour autrui ou pour l’intérêt général. Cet ordre public, dans ses composantes classiques de direction et de protection, paraît néanmoins actuellement à la peine pour contenir les volontés individuelles qui s’expriment avec force conviction. Tant le juge que le législateur se sont en conséquence tournés vers un autre instrument juridique de nature à encadrer la libre disposition de soi. De facture plus récente, la dignité de la personne humaine vient soit protéger la libre disposition d’individus en situation de faiblesse ; soit au contraire limiter la libre disposition de soi, protégeant la personne contre son gré. La deuxième acception de la dignité est celle qui prédomine entre les mains du législateur et des juges, laissant la libre disposition de soi à la merci d’un instrument peu nuancé.Il faut donc rechercher un instrument juridique qui permette d’assurer la cohésion sociale sans pour autant éteindre les aspirations individuelles. C’est un équilibre particulièrement délicat à trouver en ce que ces deux objectifs sont le plus souvent diamétralement opposés. La recherche doit s’orienter vers l’ordre public car celui-ci est un concept éminemment évolutif. C’est un ordre public qui doit être de direction, eu égard aux faits qu’il accompagne, avec toute la fermeté requise, les individus dans la découverte des options qui leur sont les plus favorables et qu’il n’a pas vocation à protéger à tout prix la libre disposition de soi. Son adaptabilité aux circonstances de l’espèce est rendue possible grâce à l’application du principe de proportionnalité in concreto. Ce nouvel ordre public ne serait enfin qu’une coquille vide, sans l’objectif du Bien commun, qui permet de discriminer entre les usages licites et illicites de la libre disposition de soi. Encadrée par l’ordre public de direction de la personne, cette dernière peut s’exprimer sans verser dans des extrêmes dommageables à l’individu ou à la société. / Must free self-determination accept limits imposed by law? A first approach, instinctive, is to answer in the negative because the Law would not have vocation to interfere in the intimate relations that one maintains with oneself and which consequently does not concern the society. However, we must face the obvious: the law is legitimate to intervene in the free disposition of oneself because the intimacy is porous, and leaves between the meshes the presence of others, which authorizes the public authorities to intervene punctually in this area a priori dedicated to privacy. It is on the basis of public order that the legislator or judges determine whether free self-determination can flourish without danger for others or for the general interest. This public order, in its classical components ofleadership and protection, nevertheless appears to be struggling to contain the individual wishes that express themselves with conviction. Both the judge and the legislator have accordingly turned to another legal instrument ofa nature to regulate the free disposition of oneself. More recent, the dignity of the human person comes to protect thefree disposition of individuals in situation of weakness; or on the contrary, to limit the free disposition of oneself,protecting the person against his will. The second meaning of dignity is the one that predominates in the hands of thelegislator and the judges, leaving the free disposition of oneself at the mercy of a little nuanced instrument. We musttherefore look for a legal instrument that will ensure social cohesion without extinguishing individual aspirations. Itis a particularly delicate balance to find in that these two objectives are most often diametrically opposed. Research must be oriented towards public order because it is an eminently evolving concept. It is a public order that must beof direction, given the facts that it accompanies, with all the firmness required, individuals in the discovery of the options that are most favorable to them and that it is not intended to to protect at all costs the free disposition ofoneself. Its adaptability to the circumstances of the case is made possible by the application of the principle of proportionality in concreto. This new public order would finally be nothing but an empty shell, without the objectiveof the common good, which makes it possible to discriminate between the licit and unlawful uses of free self determination.Framed by the public order of direction of the person, the latter can express himself without endangering the individual or the society.

In this thesis, the role and the significance of the Kantian theory of art and concept of genius in Kant&rsquo / s system is examined. In this examination, it is aimed to answer the question of the meaning of being human in Kant&rsquo / s system through art and artist. To this end, Kant&rsquo / s consideration of art from the spectator&rsquo / s standpoint and ignorance of artist&rsquo / s perspective are criticized. In conformity with this criticism, throughout the thesis, depending on Kant&rsquo / s conceptualization of the genius, the artist&rsquo / s perspective and artistic experience are tried to be exhibited. In order to understand and interpret the artist&rsquo / s perspective, the meaning of the concepts of nature and freedom that arise along with the concept of genius is clarified. By considering the effects of the freedom and the natural necessity on genius, it is asserted that since the necessity of the naturally endowed talent of genius and the freedom of the productive act of genius cause to the one and the same act, the creative activity of genius refers to the unity of all the dualities in the Kantian system and hence to the completeness of the system. As a result of this claim, art, which arises from the dual nature of human, becomes the way to unite this duality.

Le but de ce travail de recherche est de construire théoriquement le design comme dispositif communicationnel, d’abord entre deux entités abstraites ou deux “sociétés anonymes” que sont l’art et l’industrie. Ainsi, la première partie a pour objet la définition et l’évolution du sens des mots “art”, “industrie”, “design”. Une deuxième partie vise à définir un concept de design qui se distingue de l’actualisation constituée par le phénomène “design industriel” au cours du dix-neuvième et duvingtième siècle. La troisième partie cherche à mettre en lien ce phénomène avec l’émergence de la scène médiatique et de l’exposition universelle afin de produire la modernité comme religion de l’ère industrielle. Cet ouvrage théorique se propose aussi de mesurer en quoi l’art est altéré par le système industriel, et inversement comment les artistes parviennent à faire progresser une exigence esthétique dans ce système socio-économique / The aim of this research was to build in theory a concept of design as a communication device, first between two groups or moral persons : art and industry. The first part seeks for a definition of “art”, “industry”, “design” ; the emergence and evolution of these notions. A second part is aimed at building a concept of design that would distinguish itself from the usual definition of design understood only in its industrial extent, which is a phenomenon limited to the nineteenth and twentieth centuries. The third part is an attempt to link this phenomenon with that of the emergence of a mediatic worldwide scene and universal exibition in order to produce modernism as a religion for the industrial era. This theoretical work also offers to measure how art is being modified by and through this industrial system, and on the other hand how some artists make the dream of a greater aesthetical attention progress in this system

This project explores how film censorship shapes film production and circulation at film festivals, public screenings, and theatrical releases since the early 2000s in Turkey. It argues that, over time, mechanisms of censorship under Erdoğan’s authoritarian regime became less centralized; practices of censorship became more dispersed and less and less “official;” and the various imposing actors and agencies have differed from those in previous decades. Though still consistent with longstanding state ideologies, reasons for censorship practices, now more than ever, must be complexly navigated and negotiated by producers and distributors of film, including festival organizers, art institutions, and filmmakers themselves, through self-censorship.Drawing on a number of in-depth case studies of films banned after 2000, this project analyzes these works within the political and social contexts surrounding their releases, as well as ethnographic data based on dozens of extensive semi-structured interviews with cultural producers over five years of fieldwork. The corresponding ethnographic fieldwork research reveals how the political climate in Turkey has affected (and worked to suppress) cultural production, freedom of speech, activism, and political resistance to the Erdoğan regime. It asks how political activism, speech, and events are converted into the visibility of image, sound, and text (as film) ultimately meets up with structures of the states that seek to obstruct or eliminate this mode of political engagement, not just through banning of artistic expression, but also through processes of delegitimization, investigatory targeting, threats, hate speech, and violence. / Anthropology

This Thesis explores artistic activism or artivism in the context of youth in post- revolution Tunisia. During and after the Arab Uprisings, the MENA region has experienced a tendency, wherein resistance is undertaken by artivists through in situ art interventions, music, and performances that create ‘new cultural spaces’, in which cultural hybridism through the mix of urban youth subculture, communication and traditional culture, creates new contexts of authenticity. It further investigates how art and activism is used in Tunis as a tool to mirror, provoke or communicate messages that directly or indirectly deal with post-revolution themes, and which mechanisms exist in limitations of artistic freedom of expression.It utilizes concepts of cultural resistance through theorists Stephen Duncombe and discusses the concept artivism as a hybrid term, through Aldo Milohnic. It then delineates subculture, authenticity and hybridization through various theorists and examines Artistic Freedom of Expression through the standpoint of international conventions and reports. The Thesis also analyzes artistic activism, commodification and globalization through a re-contextualization of Theodor Adorno and Walter Benjamin.Guiding this analysis are interrelated points of redefining Arab youth subcultures, through interviews conducted with five young Tunisian artists who combine artistic expression with political commentary and activism. I argue that a new dynamic discourse is shaped in the MENA region through the re-mixing of a cultural narrative which becomes re-contextualized locally, and therefore becomes authentic in a ‘glocal’ context. The Thesis offers analytical contribution to the field of cultural production in a Tunisian political context and adds to the research field of artistic activism.

ORIBOMBO: Arte da Pós-Modernidade A presente dissertação de mestrado propõe-se a apresentar o Oribombo como arte da pós-modernidade, trazendo a questão do hibridismo do Oribombo, à situação da arte atual, onde se verificam hibridismos de toda natureza, incentivados pela total liberdade. O artista não se prende mais à ideologias e limitações que ditavam as concepções artísticas do passado, inclusive do passado recente. Liberdade é a palavra de ordem da pós-modernidade. Liberdade que se manifesta em todos os segmentos da sociedade. E na arte, uma consequência do livre fazer, é que os hibridismos são constantes, acontecendo de forma natural. As modalidades artísticas são exploradas simultaneamente, abrindo um leque de possibilidades durante o processo de criação. No caso do Oribombo, as modalidades artísticas que se mostraram plasticamente mais interessantes, foram a pintura, gravura, escultura e a colagem. Outra consequência da total liberdade adquirida pelos artistas da pós-modernidade, é que em certos momentos, indaga-se se tudo que é produzido com o título de arte é arte realmente. Essa discussão é muito ampla, mas a premissa de que arte é a produção de um artista, é a que mais ecoa, não somente no meio artístico, como também, entre pensadores e escritores, que direcionaram suas atenções ao desenrolar da história da arte. Os fazeres e conhecimentos artísticos são indispensáveis ao artista plástico visual, sendo assim, as modalidades artísticas que foram fundidas no processo de criação do Oribombo são seculares, mas, a liberdade com que foram tratadas é uma questão pós-moderna. / This dissertation proposes to introduce Oribombo as art of postmodernity, bringing the question of hybridity of Oribombo, the situation of contemporary art, where there are all kinds of hybridisms, encouraged by complete freedom. The artist is not attached to the ideologies and more limitations that dictate the artistic conceptions of the past, even the recent past. Freedom is the slogan of the postmodernity. Freedom that is manifested in all segments of society. And in art, one of the consequences of free artistic making is the hybridism, and it is a constant, happening naturally. The artistic modalities are explored simultaneously, opening up a range of possibilities during the creation process. In the case of Oribombo, the artistic modalities that were artistically more interesting, were the painting, the printmaking, the sculpture and the collage. Another consequence of complete freedom gained by artists of the postmodernity, is that at certain times, inquires if everything is produced with the title art is really art. This discussion is very ample, but the premise that art is the production of an artist, is the one that resonates, not only in the artistic world but also among thinkers and writers, that directed their attention to the course of art history. The doings and artistic knowledge are indispensable to the visual artist. The artistic modalities that were merged into the creation process Oribombo are secular, but the freedom with which they were treated is a postmodern matter.

ORIBOMBO: Arte da Pós-Modernidade A presente dissertação de mestrado propõe-se a apresentar o Oribombo como arte da pós-modernidade, trazendo a questão do hibridismo do Oribombo, à situação da arte atual, onde se verificam hibridismos de toda natureza, incentivados pela total liberdade. O artista não se prende mais à ideologias e limitações que ditavam as concepções artísticas do passado, inclusive do passado recente. Liberdade é a palavra de ordem da pós-modernidade. Liberdade que se manifesta em todos os segmentos da sociedade. E na arte, uma consequência do livre fazer, é que os hibridismos são constantes, acontecendo de forma natural. As modalidades artísticas são exploradas simultaneamente, abrindo um leque de possibilidades durante o processo de criação. No caso do Oribombo, as modalidades artísticas que se mostraram plasticamente mais interessantes, foram a pintura, gravura, escultura e a colagem. Outra consequência da total liberdade adquirida pelos artistas da pós-modernidade, é que em certos momentos, indaga-se se tudo que é produzido com o título de arte é arte realmente. Essa discussão é muito ampla, mas a premissa de que arte é a produção de um artista, é a que mais ecoa, não somente no meio artístico, como também, entre pensadores e escritores, que direcionaram suas atenções ao desenrolar da história da arte. Os fazeres e conhecimentos artísticos são indispensáveis ao artista plástico visual, sendo assim, as modalidades artísticas que foram fundidas no processo de criação do Oribombo são seculares, mas, a liberdade com que foram tratadas é uma questão pós-moderna. / This dissertation proposes to introduce Oribombo as art of postmodernity, bringing the question of hybridity of Oribombo, the situation of contemporary art, where there are all kinds of hybridisms, encouraged by complete freedom. The artist is not attached to the ideologies and more limitations that dictate the artistic conceptions of the past, even the recent past. Freedom is the slogan of the postmodernity. Freedom that is manifested in all segments of society. And in art, one of the consequences of free artistic making is the hybridism, and it is a constant, happening naturally. The artistic modalities are explored simultaneously, opening up a range of possibilities during the creation process. In the case of Oribombo, the artistic modalities that were artistically more interesting, were the painting, the printmaking, the sculpture and the collage. Another consequence of complete freedom gained by artists of the postmodernity, is that at certain times, inquires if everything is produced with the title art is really art. This discussion is very ample, but the premise that art is the production of an artist, is the one that resonates, not only in the artistic world but also among thinkers and writers, that directed their attention to the course of art history. The doings and artistic knowledge are indispensable to the visual artist. The artistic modalities that were merged into the creation process Oribombo are secular, but the freedom with which they were treated is a postmodern matter.

The purpose of this study is to explain the process of designing the architecture of StrangeSpaces, an itinerant festival for transcultural performing arts groups or artists which starts from the original idea and terminates with the description of a possible structure. The process of designing StrangeSpaces is based on an investigation on the transcultural performing art’s field and on conversations with experts, which together transformed the original general idea of a festival, into the specific architecture of the StrangeSpaces festival. The investigation resulted in a personal definition of ”transcultural performing arts”, that subsequently led to the identifications of three elements of transculturalism which define the festival’s goals as ”encounter with the other” in multiples and different yet equal levels. Another result of this investigation is the contextualization of StrangeSpaces in the contemporary international cultural politics. In fact, the transcultural encounter and exchange can be viewed as a possible response to the increasing need of sustainable international performing art in local, national and European cultural communities. The conversations with experts in the field of international performing arts complemented the investigation, contributing to the ideological principles of StrangeSpaces, such as anti-racism and anti-colonialism, as well as to a model of democratic and sustainable design, in which multilingualism and cosmopolitan aspects of the society are essential cues. The result of the study is a design of the architecture of three versions of StrangeSpaces, an itinerant transcultural performing arts festival that is born to be a space, a free place where people play, exchange roles, art, experience starting from their own culture, but reaching and reflecting into the other, mirroring a society of sustainable diversity.

When Nationalmuseum 2018 reopened after a thorough renovation, a cultural debate arose in Sweden about the extent to which norm criticism has taken over the museum's permanent exhibition. The intention of norm criticism is to act as an inclusive tool, by, among other things, making visible, criticizing and changing structures. However, can the inclusive norm criticism also inhibit freedom of expression by causing an exclusion of certain art expressions and performers? In other words, does there arise a paradox in applying norm-critical requirements on artistic freedom? The purpose of this essay has been to present an answer to this question and thereby making a contribution to the discourse within the science of Arts, regarding the prerequisites of artistic freedom. The study was conducted through semiotic image analysis by the artwork: Anders Zorn – Badande kullor, Bruno Liljefors - Orrspel i mossen and Carl Larsson – Till en liten vira. The analysis were further developed through commutation tests, where the artist's gender affiliation changed from male to female with the intention of, from a norm-critical perspective, studying whether and how the artist's gender affiliation in a transmitter context influences the meaning and signification of the artwork. The results from the image analysis show that the meaning in the interpretations of the works shifts in a varying degrees, which can contribute to both confirm, creating new and challenging already known oppressive norms and structures. To summarize, the study concludes that in norm criticism such a paradox can arise, which can have limiting and exclusionary consequences for the prerequisites of artistic freedom in the form of, for example, self-censorship and discrimination.

The principle of keeping culture at arm’s length from politicians has been a long-standing tradition in Swedish cultural politics but has recently become more of a salient political issue. Municipalities is one level of government that handles a large part of the public funding of cultural activities but has no constitutional protection implementing this principle, instead it is implemented through upheld local norms and individual politician respect for the principle. The purpose of this thesis is to examine a previously unstudied aspect in Swedish cultural governance. What types of microsteering strategies are used in governing local Cultural and Recreational Committees and how do public officials view those strategies. This is done through interviewing different Head Administrative Officers and Head of Department officials in Cultural and Recreational Committees in different municipalities and analysed through the analytical framework of microsteering, developed by Jacobsson, Pierre and Sundström.