Our social world is increasingly chaotic. Perhaps there has always been chaos; but our increasingly globalized landscape and information economy seems to place chaos on the frontlines—as videos of military strikes in Iraq, or mundane narratives about making it through another day are available for consumption at any time. Our social world produces. The question: What to do with it all? This dissertation explores the concept of affect, using a collage methodology. To conduct an exploration of affect, which “transpires within and across the subtlest of shuttling intensities” (Seigworth and Gregg 2), this dissertation both explores and performs collage; taking collage as both an artifact for investigation using affect theory, as well as a methodological approach participating in the creation of affect theory. As a result of this commitment, the reader is invited to enter this document in any order they wish—reading directly through, or skipping around chapters as it suits them. As a method, collage operates through placing at least two different things next to each other, and then looking for similarities and differences. Each chapter explores differences by juxtaposing artifacts selected because of a similarity that they shared. Spatial (Harvey Butchart and the Havasupai Native Americans), methodological (the It Gets Better project and Ray Johnson), temporal (September 11, 2001 and September 11, 1973), or praxis-based (Chelsea Manning and Aaron Swartz) similarities guided the juxtaposition of artifacts within each chapter. In addition, each chapter explores a distinct version of affect theory to add to the collage created within and throughout this dissertation. Each chapter is a canyon, collected within the grand canyon of the dissertation as a whole. Ultimately, this dissertation is guided by both academic and artistic impulses. I seek to explore and produce affect theory through deploying the methodology of collage. Drawn to moments that often escape rational interrogation, this dissertation invokes echoes as evidence in order to mobilize a system of resonance through juxtaposition that realizes the power of collage: Establishing interpretive frames that refuse to be finished or fixed. Through the performance of collage methodology, this dissertation seeks to implicitly argue for rhizomatic knowledge systems as a method of resistance to structures of oppression via an aesthetic mobilization of collage.

L'ambition de cette thèse est de contribuer à la caractérisation de la qualité des réparations des structures composites primaires en carbone par collage structural en s'appuyant pour cela sur la technique de la Thermographie InfraRouge (TIR). Le caractère ténu de la différence de comportement entre les parties constitutives de l'assemblage réparé (parent et patch en carbone-époxyde, adhésif époxyde) et donc la difficulté de capter la réponse thermique du joint collé constituent les enjeux principaux de ce travail. A cette fin, une procédure expérimentale de Contrôle Non Destructif (CND) a tout d'abord été spécifiquement mise au point pour cette étude, permettant une modélisation numérique physiquement cohérente du problème thermique ainsi qu'une bonne concordance avec les champs de température mesurés. Le travail propose par ailleurs une piste complémentaire visant à modifier les propriétés thermiques intrinsèques du joint à l'aide d'additifs dont la signature infrarouge permet d'identifier plus nettement des défauts de collage. / This PhD work intends to contribute to the characterization of structural bonded repair quality of primary composite structures using InfraRed Thermography (IRT). Generally, in this case, the parent structure and the repair patch are both made of carbon-epoxy and are linked together by an epoxy adhesive. Such repair configuration then leads to a weak property contrast between the parts of the repaired assembly. Therefore, the non-destructive analysis of the bonding quality remains difficult and represents the very challenging issue of this study. In this way, a new specific Non Destructive Testing (NDT) procedure has been firstly developed that allows physically consistent numerical model of the thermal problem and a good correlation with experimental data. Additionally, it is proposed to use relevant additives that modify the thermal properties of the glue joint in order to improve the detection of bond defects.

This thesis consists of two parts - theoretical and practical. In the theoretical part I try to illustrate the life and work of Kolar and describe the techniques he used. Particular attention is paid to the book Prometheus' Liver, which is the subject of this diploma work. I also mention his artist wife, Běla Kolářová. In the practical part, I explain my main sources of inspiration and the process of creating my collection of collages.

A pesquisa intitulada Acumular tesouros: um olhar sobre os cadernos de desenho analisa um conjunto de cadernos de desenho, elaborados por mim, entre 2006 e 2015. O objetivo desse estudo é investigar de que modo a utilização frequente dos cadernos de desenho constitui uma poética e de que forma os cadernos são abordados na história da arte. A metodologia, de ordem qualitativa, possui por principal ação a continuidade da produção prática, assim como as relações estabelecidas entre os meus cadernos e os de outros artistas. Neste estudo, evidencio o aspecto heterogêneo dos cadernos, já que estes comportam e agregam grande quantidade de elementos gráficos, além dos desenhos, tais como colagens e escritos. É explorada a hipótese de que os cadernos não são apenas instrumentos para obras futuras; mas que são, principalmente, veículos que possibilitam experimentações artísticas das mais variadas naturezas. São abordados os conceitos de hupomnêmata a partir de Michel Foucault (2004; 2010; 2011); colagem por Antoine Compagnon (1996); e desenho a partir de John Berger (2010). / The present research entitled Accumulating treasures: a look upon sketchbooks analyzes a set of sketchbooks, created by myself between 2006 and 2015. The main objective of this research is to investigate in what way the frequent use of sketchbooks constitutes a poetics and how sketchbooks are addressed in Art History and in contemporary artistic production. The methodology – which follows a qualitative approach – has as main procedure the continuity of practical production as well as the establishment of relations among my sketchbooks and other artists’. I emphasize, in this study, the heterogeneous aspect of the sketchbooks, considering that they contain and aggregate a considerable amount of graphic elements besides the drawings, as well as collages and writings. The hypothesis explored is that the sketchbooks are not just an instrument to future works, but they are mainly means that allow artistic experiments of several kinds to be carried out. The concepts of hupomnêmata by Michel Foucault (2004; 2010; 2011); and collages by Antoine Compagnon (1996) are addressed along with the concept of drawing according to John Berger (2010).

A pesquisa intitulada Acumular tesouros: um olhar sobre os cadernos de desenho analisa um conjunto de cadernos de desenho, elaborados por mim, entre 2006 e 2015. O objetivo desse estudo é investigar de que modo a utilização frequente dos cadernos de desenho constitui uma poética e de que forma os cadernos são abordados na história da arte. A metodologia, de ordem qualitativa, possui por principal ação a continuidade da produção prática, assim como as relações estabelecidas entre os meus cadernos e os de outros artistas. Neste estudo, evidencio o aspecto heterogêneo dos cadernos, já que estes comportam e agregam grande quantidade de elementos gráficos, além dos desenhos, tais como colagens e escritos. É explorada a hipótese de que os cadernos não são apenas instrumentos para obras futuras; mas que são, principalmente, veículos que possibilitam experimentações artísticas das mais variadas naturezas. São abordados os conceitos de hupomnêmata a partir de Michel Foucault (2004; 2010; 2011); colagem por Antoine Compagnon (1996); e desenho a partir de John Berger (2010). / The present research entitled Accumulating treasures: a look upon sketchbooks analyzes a set of sketchbooks, created by myself between 2006 and 2015. The main objective of this research is to investigate in what way the frequent use of sketchbooks constitutes a poetics and how sketchbooks are addressed in Art History and in contemporary artistic production. The methodology – which follows a qualitative approach – has as main procedure the continuity of practical production as well as the establishment of relations among my sketchbooks and other artists’. I emphasize, in this study, the heterogeneous aspect of the sketchbooks, considering that they contain and aggregate a considerable amount of graphic elements besides the drawings, as well as collages and writings. The hypothesis explored is that the sketchbooks are not just an instrument to future works, but they are mainly means that allow artistic experiments of several kinds to be carried out. The concepts of hupomnêmata by Michel Foucault (2004; 2010; 2011); and collages by Antoine Compagnon (1996) are addressed along with the concept of drawing according to John Berger (2010).

This study has the goal to analyze the strategy used by the Mapuche poets so called collage ethno-linguistic and to reveal how it is used by their authors. Given that we will analyze poems in which its authors are Mapuche, we want to investigate whether their own worldview, culture and religiosity is reflected into the poem.   For this purpose we will analyze three poems written by the Chilean Mapuche poets in order to have the proper overview of their lyrical poetry. Those poems are “Huida”, by Maribel Mora Curriao, “Quila” from Pedro Alonzo Retamal, and “Desde aquí” from the poet Jaqueline Caniguán.  On the other hand we will also inquire into other papers of several researchers that have studied the ethno-literature, such as Iván and Hugo Carrasco Muñoz and the paper written by the researcher Maria Ester Greve  in order to support our investigation.     Key words: ethnolinguistic collage, Maribel Mora Curriao, Pedro Alonzo Retamal, Jaqueline Caniguán, Mapuche poetry, world view, Mapuche religiosity.

This thesis focuses on beginning early childhood educators and their stories, contributing to an area in the literature that has not been researched extensively. Deleuze and Guattari’s (1987) philosophical concepts of assemblage and a rhizome underpin the methodological and theoretical threads in this study, which explores the following research questions: What are the possibilities of conversations when beginning early childhood educators get together? What conditions are needed for beginning educators to stay excited and engaged in their work? With intention to move beyond an individualistic approach of considering educators as “subjects” telling their individual stories, this study focuses on transcripts, stories, audio recordings, images, materials, the researcher’s memories and stories, related texts, and concepts as vital parts of the assemblage, directing attention to what emerges through connections between the elements. To explore the research questions, four 90-minute group conversation sessions were conducted with four early childhood educators who had been working in the field between one and two years. Collage was used as part of group conversation sessions, to pay attention to what unfolded through engaging with materials and one another. Bringing together elements of rhizomatic and narrative approaches in the data analysis highlights the importance of listening deeply, attending to one another, and developing trust to engage in genuine conversations from the heart to form caring relations, as well as directing attention to the complexities and tensions of educators’ practice. The results of the study also point in the direction of switching focus from an individualistic, fast-paced professional development approach to meaningful collective opportunities for professional learning, attending to the concept of time as relational. The study suggests creating a network of educators to continue genuine conversations and nurture connections that will help educators to stay excited and engaged in their work. / Graduate

Cette thèse porte sur l'analyse de l'exode julien-dalmate dans une perspective géopolitico-sexuelle. La première partie interroge le tracé de la frontière entre l'Italie et la Yougoslavie après la fin de la Deuxième Guerre mondiale et les deux constructions identitaires nationale et multinationale qui en découlent pendant la période de la guerre froide. Ce travail met ensuite en évidence les diasporas installées dans le contexte européen contemporain, en tant que réalités créatrices de nouveaux espaces politico-intimes d’apprentissage d'autres valeurs de partage non-occidentales qui inspirent des formes communautaires non alignées sur les normes européennes. Dans la deuxième partie nous analysons trois pratiques quotidiennes nées dans la diaspora, basées sur la récupération de matériaux usagés et développées dans une perspective féministe : le collage, la couture et l’envoi postal. Il s’agit de trois pratiques situées à la frontière entre l’activité artisanale, car elles sont en mesure de créer des sources de revenus, et la création artistico-culturelle, car elles sont également capables de communiquer dans une perspective postexotique avec le monde de l'art contemporain en tant qu'archive partielle de l’histoire culturelle occidentale. L’analyse conclut que dans l’espace de la diaspora se retrouvent des outils nécessaires tant aux processus postcoloniaux des sociétés ou des îles d'origine des groupes diasporiques qu’aux processus égalitaires au sein des sociétés occidentales multiculturelles à majorité blanche en tant que lieux d’installation de ces groupes. / This thesis analyses the Julian-Dalmatian exodus from a sexual and geopolitical perspective. The first part examines the border between Italy and Yugoslavia after the end of World War II, and the processes of both national and multinational identity constructions during the period of the Cold War. This work then highlights the diasporas in the contemporary European context, as realities create new political-intimate spaces of learning non-Western values of sharing that inspire different forms of communities not aligned with European norms. In the second part, we analyse three practices of daily life that emerged inside the diaspora communities which are based on the recovery of used materials and had been developed in a feminist perspective: collage, sewing and sending. These three practices are located on the border between craft activity and artistic and cultural creations, as they enable the development of both income sources as well as the communication from a postexotic perspective with the contemporary art world being a partial archive of Western cultural history. This analysis concludes that we can find the necessary tools in the diaspora spaces that are needed for both the postcolonial processes in the diaspora groups’ societies or islands of origin and for the processes for equality inside the multicultural, but predominantly white, Western societies in which these groups are located.

abstract: “Mix Mix Tayo: The Many Pieces in Our Stories'' is a written reflection, exploring the creation of the dance documentary, Carried Across the Water as well as the community event, Mix Mix Tayo. The ideas behind these works are centered in storytelling, filipino american identity and community. This research explores the use of film, dance, event production and the mixing of elements to create new wholes in order to communicate these ideas. These works were imagined in response to a call that was felt from people actively searching for healing, community and ancestral knowledge. / Dissertation/Thesis / Masters Thesis Dance 2020

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