Thesis (Ph.D.) - Carleton University, 2005. / Includes bibliographical references (p. 300-314). Also available in electronic format on the Internet.

Thesis (doctoral)--Schlesische Friedrich-Wilhelms-Universität zu Breslau. / Published in full in 1917. Vita. Includes bibliographical references (p. [ix]-xiv).

Cette recherche est une tentative de mener un processus de création artistique, à la fois théorique et pratique, qui puisse contribuer à penser de nouvelles modalités d'images dans le champ de l'art et propose des pistes alternatives à la représentation. Ces images, fluides, autopoïétiques, sont davantage pensées ici comme translations continues que comme formes déterminées. Vivantes, elles se constituent sur leur bordure, à la limite d'une prise de consistance ou d'une dissolution. Nous partons du mouvant, de la durée bergsonienne, nous plaçant en son sein afin d'épouser le flux continuel des nos corps et des choses. Nous investissons un processus ouvert, celui d'une base d'expérimentation somatique fluide impliquant à la fois un corps sans images, en amont de celles produites par le système nerveux, et une multiplicité d'images poétiques engendrées par l'expérience. À ces pratiques, nous couplons celle d'une philosophie vécue en acte, engageant des concepts dans le processus créatif, le mouvement et la danse. Nous sommes portés à vivre, à penser, un seuil de tremblement sur lequel la perception ordinaire vacille, et à élaborer des modalités de regard qui tentent d'ouvrir les corps et les espaces les libérant d'images fixes ou d'identités trop définies. Il s'agit non seulement de voir avec la peau, les liquides, les os, mais d'épouser le vide au cœur des choses et de tenter de voir avec « les yeux du vide » afin que les images se transmutent continuellement en leur anagramme : magies. Nous pouvons alors nous connecter aux dimensions fluidiques de la vie afin que coule une nouvelle douceur entre les corps et les catégories. / This research is an attempt to establish a process of artistic creation, simultaneously theoretical and practical, contributing to the conception of new image modalities in the art field and offering alternatives to representation. Images –fluid, autopoietic– are considered here more as continuous translations than fixed shapes. They are living entities, constituting themselves at their limits, always on the verge of attaining consistency or dissolving. We start with movement, Bergsonian duration, putting ourselves inside it in order to embrace the continual flux of our bodies and of things. We enter into an open process based upon a groundwork of fluid somatic experimentation involving both (1) explorations without images (explorations antecedent to the images produced by the nervous system) and (2) a multiplicity of poetic images engendered by the process itself. We join to these practices that of a philosophy experienced in action, involving concepts in the creative process, movement, and dance. We come to experience and conceive a threshold of trembling on which ordinary perception flickers. We develop modalities of the gaze that attempt to open bodies/spaces, liberating them from set images or too-fixed identities. At issue is not merely seeing with skin, liquids, bones, but espousing the void at the heart of things and attempting to see with "the eyes of the void" in order that images be transmuted continually into their anagram: magies [spells]. We may then connect to the fluidic aspects of life and a new gentleness may flow between bodies and categories.

Na estrada, pegadas sugerem passos e descompassos de andarilhos de diferentes tribos. Por toda parte, pisadas: rastejantes, superficiais, firmes, a-fundadas, dançarinas, crianceiras e até rasuradas. A diagramação é a máquina que captura as relações de forças e ressalta, no percurso e no percorrido, linhas, fluxos e composições. Da vida, lampejos de pensamentos desgarram-se. Dos pensamentos, possibilidades de vida desprendem-se. É nesse ponto que a experimentação suscita outros modos de pensamento e desencadeia novas maneiras de viver. É por essa conjugação com a vida que os signos se dão à sensibilidade e coagem-na a sentir. A agressão inicial repercute: leva a memória a aprender um imemorial, a fabular um por vir e a resistir ao presente; introduz o tempo no pensamento e o desafia a pensar o impensado. À vista disso, a aprendizagem conduz as faculdades ao exercício transcendente e requer uma educação voltada para a emissão e a exploração dos signos. Da conexão entre educação, crianceiria e filosofia, forças são duplicadas e devires precipitados.

This diploma thesis focuses on Virginia Woolf's conception of time in relation to the narrative techniques the author uses in her novels. The aim of this diploma thesis is to analyse the conception of time characteristic of Woolf's prose but also to point out how closely related this conception of time is to the narrative techniques used by the author. To capture the development of Woolf's conception of time and narrative methods, the novels are analysed chronologically according to their dates of publication. Significant part of this thesis is also devoted to the philosophical, scientific and historical context in which the novels were written because the author's treatment of time and narrative techniques are directly inspired by philosophical and-scientific theories and socio-historical changes at the turn of the 20th century.

Dissertation deals with the flow of time and it's influence on the adhesion of memories in mind in terms of the philosophy of Henri Bergson and Gilles Deleuze. Dissetration has two parts- theoretical and practical. The practical part deals with memory of the current time shown on the silkscreen ceramic tiles.

110f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-16T16:14:29Z No. of bitstreams: 1 Dissertacao Geovana Monteiroseg.pdf: 633865 bytes, checksum: e8766c2bc4ba4db635077d937494224a (MD5) / Approved for entry into archive by Ana Portela(anapoli@ufba.br) on 2013-05-17T18:29:33Z (GMT) No. of bitstreams: 1 Dissertacao Geovana Monteiroseg.pdf: 633865 bytes, checksum: e8766c2bc4ba4db635077d937494224a (MD5) / Made available in DSpace on 2013-05-17T18:29:33Z (GMT). No. of bitstreams: 1 Dissertacao Geovana Monteiroseg.pdf: 633865 bytes, checksum: e8766c2bc4ba4db635077d937494224a (MD5) Previous issue date: 2008 / Investigar a natureza do tempo real é, de acordo com Henri Bergson, perscrutar um objeto fugidio, uma vez que, ao tentarmos apreendê-lo, já se escoou em seu fluxo contínuo. Caberia à consciência compreendê-lo na passagem que lhe é própria. Doravante, uma dificuldade se mostra ao filósofo: tempo e espaço, sendo qualitativamente distintos, aparecem, quer para a filosofia, quer para a ciência, como faces de uma mesma moeda. O pensamento bergsoniano percebe, então, na espacialização do tempo a fonte de todos os falsos problemas filosóficos. Seu esforço será marcado por uma crítica às tradicionais concepções do tempo, bem como à expressão mais radical de sua espacialização, a teoria da relatividade. Em linhas gerais, nossa investigação se debruçou sobre a dicotomia intuição/inteligência, tendo como reflexo imediato a contraposição entre filosofia e ciência, tema diretamente ligado à incompreensão da natureza do tempo real, de acordo com Bergson. Acreditamos que, ao se investigar o tempo nessa filosofia, seja imprescindível evidenciar a intuição como o método adequado à apreensão da duração em vias de realizar-se, uma vez que a inteligência, faculdade humana diretamente ligada à matéria, é incapaz de atingir o âmago da realidade. Com efeito, neste trabalho investigamos a natureza do tempo vivido em oposição aos tempos medidos da física einsteiniana, conforme visto em Duração e simultaneidade (1922). Nesta obra, Bergson almeja mostrar que o tempo imediatamente percebido não equivaleria ao das fórmulas e equações da física, que esse tempo mensurável não passaria de espaço, e que essa compreensão, adequada às questões físicas, não refletiria o tempo enquanto duração pura. Para tanto, foi fundamental a apresentação de algumas noções bergsonianas relativas à compreensão do tempo livre de determinações espaciais ― noções tais como as de simultaneidade, movimento e multiplicidade qualitativa. Sem a pretensão de realizar um estudo científico sobre a teoria da relatividade, procuramos compreender, através da exegese de Duração e simultaneidade, a interpretação filosófica levada a termo por Bergson acerca de tal teoria. Nosso objetivo é então, ao contrário das críticas equivocadas ao ensaio de 1922, mostrar que Bergson não pretende invalidar a teoria einsteiniana, não incorre em erros de ordem matemática quanto à relatividade restrita. Dessa forma, acreditamos poder sugerir que essa obra, Duração e simultaneidade, não deveria estar relegada a um papel secundário na compreensão do percurso filosófico bergsoniano. / Salvador

Cette thèse reprend la critique de l’expression de « musées virtuels » des muséologues, remplacée par celle de cybermusée. Elle refait la recherche de ce que signifie la notion de virtuel dans ce domaine de Bernard Deloche, en particulier, à nouveaux frais. Partant des conceptions de Bergson et Deleuze, elle les compare avec le sens utilisé dans le domaine scientifique et technologique, en particulier dans celui de la réalité virtuelle. Les cybermusées relevant des arts numériques, ils auront tendance à utiliser ce sens, qui est réduit à être un champ de possibles, déchargé de la caractéristique créative de la notion philosophique. Une analogie entre le référent du champ muséal, la mémoire pure et le flux des micro-perceptions permet de chercher une définition du type de muséologie qui pourrait être à l’œuvre dans un cybermusée. Une figure proprement muséale du cybermusée est trouvée dans l’usage des métaphores paysagères des systèmes de visualisation des grands ensembles de données, retravaillées pour le terrain du patrimoine et autres objets muséaux numériques. L’immersion dans un environnement à la fois esthétique et cognitif est atteint. Des conceptions esthétiques des images numériques résolvent le problème de l’absence de « chose vraie » : l’esthétique anesthétique de Diodato, l’intimisme fragmentaire et génétique de Chirollet et Weissberg, et l’association d’images selon Aby Warbourg. Le cybermusée poursuit alors le même but que le musée imaginaire d’André Malraux, prenant en compte les spécificités du médium numérique. La thèse comprend une création de prototypes de cybermusées qui expérimente les idées de la réflexion théorique et les fait avancer. / This thesis takes into account the critic of the expression of « virtual museums » made by some museologists who replace dit by the term « cybermuseum ». It comes back to the research of what virtual means in this topic that Bernard Deloche did, with new understandings. Coming from Bergsonian and Deleuzian approaches, it compares them with the meaning given to it in scientific and technological disciplines, especially for virtual reality, since cybermuseums are an expression of digital arts using this kind of technology. Cybermuseums tend to use this last meaning, which is a reduction to the field of possibility, affranchised of its philosophical creative characteristic. An analogy between museal field referent and pure memory or flux of microperception allows to look for a definition of a cybermuseum specific type of museology. A proper museal cybermuseum figure is found in information landscape metaphors from infoviz, which are rethought for digital museums typical uses. Immersion in together esthetical and cognitive environment is then reached. Esthetical conceptions of digital image solve the problem of a digital museum without « real things » : the anesthetic esthetic of Diodato, fragmentary intimism and genesis of Chirollet and Weissberg, image association of Aby Warburg. Cybermuseum therefore pursue a similor goal as Malraux’s « museum without walls », by taking into account digital medium specifities. The thesis contains a creation of cybermuseums prototypes which experiment theoretical ideas and makes them go forward.

This thesis for PhD by Publication presents artworks and writing that propose and create ‘other worlds’. Many of the artworks and writing engage scientific concepts, both historical and contemporary, however it is the phenomenological aspects of these ideas that are engaged. The research mostly deals with the infinitesimal and the distant, neuroscience, astrophysics and sometimes both. It also deals with boundaries as porous and indefinite thresholds, a reoccurring concept in my research. The artworks are mainly participatory as it is my aim to develop a strategy for ‘inhabitation’. I introduce three forms of intuition as methodologies with which to engage with phenomena outside of our human sensorium. They are as follows: Firstly, structural intuition by means of Martin Kemp, a sensory and haptic understanding of the world that affords insights into more abstract or elusive materials or ways of being. Secondly, intuition as method by means of Henri Bergson, a form of ‘looking from within’ that attempts to engage the with beings or phenomena that lie outside of our sensory system and abstract or intellectual domain. I expand on Bergon’s method via Gilles Delueze’s heterogeneous field and Elizabeth Grosz’s further development of this method. And thirdly I also include panpsychism as a form of ‘being with’ the non-human or phenomenon by means of William James, David Chalmers, Karen Barad and Christof Koch. This is not to prove panpsychism as a reality but to understand it as a tool to build a bridge between human and other beings, things, atmospheres with which we share our world and beyond. In the conclusion I briefly address the ‘non-human turn’ as an expansion of our understanding of sentience in things, beings and atmospheres. I have proposed these forms of intuition to draw attention to the methodologies I use when working with ideas that lie outside of my expertise. These methods also apply to research that does not have scientific origins. These methods form a framework for process and production of artworks when engaging with the abstract, invisible or elusive. The main body of the research in this PhD by publication is presented in the forms of artworks and articles. The artworks The Fragmented Orchestra (Grant, Matthias, 6 Ryan, 2008), Ghost (Grant, 2011) and Plasticity (Grant, Matthias, Kin, Ryan, 2011) have at their core research on models of firing neurons with particular reference to Eugene Izhikevich’s work on spike timing dependent plasticity. I also draw from Henri Bergson’s work on memory and Gilles Deleuze’s work on fields. Other research presented includes artworks and papers relating more to astrophysical concepts at their core are Soft Moon, (Grant. 2010), Soft Moon: Exploring Matter and Mutability in Narratives and Histories of the Earth-Moon System, (Grant, 2013) Fathom, (Grant, Matthias, 2013) and newer works. These works reference Bergson once more, the physicist Lee Smolin, writer Italo Calvino and Stanislaw Lem, and others. Here I integrate art, science, science-fiction, and philosophy alongside the writing of architect Juhani Pallasmaa. This document describes my aim to inhabit other worlds (often from the histories of science) by engaging overlapping methodologies of intuition and practice in which I attempt to engage directly with the abstract, the unfathomable, the distant, or the miniscule. I have developed this strategy to allow me to create artworks and writing that externalize these aims and that allow others, participants and readers, to encounter and engage in these other worlds too. This interdisciplinary and rhizomatic strategy synthesizes ideas into new forms with which we can inhabit the uninhabitable.

O presente estudo tem como objetivo analisar as abordagens interpretativa e processual dos Estudos Organizacionais, expressas nas obras de seus principais autores – Karl Weick e Robert Cooper, discutindo sua relação com a filosofia do processo de Henri Bergson. Esta análise é executada no intuito de que, em se verificando uma aproximação entre estas abordagens e a filosofia bergsoniana – seus conceitos pilares e o método intuitivo – seja possível vislumbrar uma teoria do conhecimento em base processual, uma “epistemologia do processo”. A motivação para realização deste estudo deu-se por duas principais razões. A primeira é decorrente do meu próprio estranhamento e interesse, seguido de questionamentos que me levaram ao aprofundamento nas propostas destas abordagens e nas leituras dos seus principais autores. A segunda é que, em executando esta aproximação com a filosofia de Bergson e vislumbrando uma teoria do conhecimento em base processual, a negligência com que estas abordagens são tratadas dentro da área dos Estudos Organizacionais dominantes (mainstream) seja diminuída. A referência utilizada para a execução do trabalho dirigiu-se, em função da sua própria natureza, para a hermenêutica – mais especificamente para a hermenêutica filosófica de Hans-Georg Gadamer, que permite uma interpretação geradora de conhecimento político-moral engajado e preocupado. Por fim, o trabalho apresenta as considerações e os resultados da análise das abordagens processuais à luz da filosofia de Bergson, verificando que, embora estas abordagens entendam a realidade como processual, elas carecem de alinhamento ontológico e epistemológico com a filosofia do processo bergsoniana. Entretanto, ao entender e compreender a realidade sob a ótica do processo, denotando uma axiologia processual, ambas as abordagens abrem possibilidades interessantes para o reposicionamento das Teorias Organizacionais. Estas possibilidades permitirão discutir a falácia da centralidade, armadilha positiva e funcional que os Estudos Organizacionais são tentados a assumir quando entendem o processo e o movimento não como algo natural e constante, mas como exceção e hiato. / This study aims to analyze the processual and interpretative approach of Organisational Studies, expressed in the writings of its main authors - Karl Weick and Robert Cooper, discussing its relationship to the process philosophy of Henri Bergson. This analysis is performed in order that, in noting a connection between these approaches and Bergson’s philosophy - his core concepts and the intuitive method - it is possible to envision a theory of knowledge on a processual basis, an "epistemology of the process." The motivation for this study had two main reasons. The first is due to my own amazement, followed by questions that led me to go deeper on the proposals of these approaches and readings of its main authors. The second is that in executing this approach with the philosophy of Bergson, and overlooking a theory of knowledge on a processual basis, the neglect that these approaches are treated within the area of Organisational Studies (mainstream) could be decreased. The reference used for the execution of the study was, on according to its own nature, the hermeneutics – specifically the hermeneutical philosophy of Hans-Georg Gadamer, which allows the generation of a moral-political knowledge, engaged and positioned (Schwandt , 2003). Finally, the study presents the findings of the analysis of the processual approach to the philosophy of Bergson, noting that although these approaches understand reality as process, they lack ontological and epistemological alignment with the process philosophy of Bergson. However, in understanding and comprehending the reality from a process perspective, denoting an axiology of process, both approaches open up exciting and interesting possibilities for the repositioning of Organisational Theories. These possibilities will discuss the fallacy of centrality, the positive and functional trap that Organisational Studies are tempted to fall when understanding the process and the movement as something not natural and not constant, but as exception and hiatus.