Les photographies tristement célèbres du supplice chinois qui inspiraient Bataille paraîtraient aujourd’hui désuètes. Mais cette fois, elles ne sont plus sous le manteau. Quelques pas au Kiosque voisin ou un simple clic suffisent pour en avoir l’intégrale : la mort en couleur et en direct, commentée et analysée. Du réel au téléviseur, l’image de la mort circule, emprunte la toile du net et s’accroche parfois sur quelques téléphones mobiles. De l’assassinat de Kennedy à la décapitation de Nicholas Berg, c’est petit à petit que la collection s’étoffe et quelques années médiatiques assurent la constitution de ce que l’on pourrait appeler notre background occidental de la mort. Tout comme la grande épidémie de peste marque une métamorphose de l’iconographie, il est certain que cette nouvelle appréhension de la mort affecte la réflexion et la production artistique actuelle pour laquelle le sujet, nous le montrerons, est primordial (au sens originel et essentiel). En envisageant l’image comme mode commun à l’art et aux médias pour dire l’indicible, il est question de mettre en relief un ensemble de corrélations significatif entre les deux médiums. En montrant en quoi ces images procèdent de fonctions et fonctionnements identiques, nous soutenons l’hypothèse que les médias sont un rival de l’art. Enfin, c’est en éprouvant cette position qu’il est sans doute possible d’analyser le choix marqué des artistes actuels pour une peinture qui s’approprie ces images pour faire face à celles des médias. / The regrettably well-known photographs of the Chinese torture which were so inspiring for Bataille would probably seem outdated today. But now, this sort of pictures are no longer watched on the sly. A few steps to the newstand next door or just a click are enough to get the whole of it : colour death, broadcast live, commented on and analysed. From reality to television the pictures of death go round, use the web and sometimes cling to some mobile phones. From the assassination of JFK to the beheading of Nicholas Berg, little by little, the collection grow and a few years of media provide us with what we can call our occidental background of death.In the same way as the Great Plague marked a transformation of iconography, this new apprehension of death does modify present thinking and artistic production for which the subject, we will show it, is primordial (in the original and essential sense).By viewing the picture as a way common to art and media to express what is inexpressible, there is some question of bringing out a significant series of correlations between these two mediums. By showing to what extent these pictures originate in an identical function and functioning we make the assumption that the media compete with art. Finally, by testing this position it must be possible to analyse nowadays artists'definite choice of a painting which appropriates these pictures to face those of the media.

Submitted by Amanda Silva (amanda.osilva2@ufpe.br) on 2015-03-09T14:03:26Z No. of bitstreams: 2 DÉTOURNEMENT EM JOGOS DIGITAIS.pdf: 2730643 bytes, checksum: a2fc44adfd01114589fbfc89ea18a7d4 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) / Made available in DSpace on 2015-03-09T14:03:26Z (GMT). No. of bitstreams: 2 DÉTOURNEMENT EM JOGOS DIGITAIS.pdf: 2730643 bytes, checksum: a2fc44adfd01114589fbfc89ea18a7d4 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Previous issue date: 2012-02-27 / Desde 1970 observa-se o advento dos jogos digitais a partir do crescimento da indústria e constante evolução das tecnologias. Em busca de processos para impulsionar a produção, a concepção desses artefatos tem se baseado num design reutilizável pela customização de jogos lançados no mercado. Entretanto, ao se apropriar de componentes estéticos de contextos anteriores para criar novos produtos, algumas modificações distorcem o sentido original e constroem um diferente arranjo de significado próprio. Assim, o desvio de elementos estéticos de jogos pré-existentes remete à lembrança do anterior, permitindo um paralelo dessas intervenções com uma técnica utilizada durante o Movimento Internacional Situacionista (IS) de 1957, o Détournement. Este trabalho contextualiza o détournement, da forma como foi elaborado pela IS, como uma abordagem possível para discussão da prática do desvio na concepção de jogos digitais. A pesquisa objetiva analisar o universo dos jogos, verificando a utilização dessa técnica nos estudos de caso, quando aplicáveis às leis do Guia Prático para Détournement. Os resultados da análise mostram que o uso do desvio está permeando a Indústria de Jogos Digitais.

Submitted by Amanda Silva (amanda.osilva2@ufpe.br) on 2015-04-15T14:38:59Z No. of bitstreams: 2 DISSERTAÇÃO Deyse Maria da Silva.pdf: 15065572 bytes, checksum: f1258417a1a7a1a4ae08c4250601efa5 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) / Made available in DSpace on 2015-04-15T14:38:59Z (GMT). No. of bitstreams: 2 DISSERTAÇÃO Deyse Maria da Silva.pdf: 15065572 bytes, checksum: f1258417a1a7a1a4ae08c4250601efa5 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Previous issue date: 2014 / Esta pesquisa, do tipo estudo de caso, discute o détournement na arte contemporânea de Pernambuco. Palavra francesa, que traduzida para o português significa “desvio”, o détournement trata de uma técnica de produção artística sistematizada pela Internacional Situacionista (IS) – movimento cultural e, principalmente, político, ativo entre os anos de 1958 a 1972, cujo principal objetivo era o retorno da arte à práxis vital. A ideia do desvio era utilizar elementos pré-existentes para a configuração de novos arranjos significativos. Para investigar essa técnica situacionista na Arte Contemporânea de Pernambuco, foram analisadas três obras de arte: Amor, Ordem e Progresso (2011) de Lourival Cuquinha; o vídeo Travessias da exposição Plus Ultra (2011) de Oriana Duarte; e Entre o Novo e o Nada (2006) de Márcio Almeida. A partir do que foi analisado, percebe-se que o desvio praticado atualmente se aproxima, mas não é igual ao détournement da Internacional Situacionista. Os postulados situacionistas trazem consigo um teor revolucionário que não se aplica ao contexto social, político e cultural da atualidade.

L’observation des productions actuelles fait apparaitre une tendance à l’hybridation des disciplines. Ce constat touche en particulier un type de pratique design, qui s’oriente de plus en plus vers la conception d’objets en petites séries ou en pièces uniques, interrogeant le rapport de l’usager aux espaces familiers et plus spécifiquement à la sphère intime. Bien que la plupart des designers refusent le rapprochement de leur travail avec les Arts Plastiques, il n’en demeure pas moins que certains d’entre eux adoptent des démarches analogues à celles des plasticiens. La formulation de cette hypothèse interroge la validité des catégories en vigueur et la légitimité des lois qui président à leur constitution. Par ailleurs, la production des designers qui intègrent une démarche similaire à celles des artistes se construit sur un mode évolutif, faisant croître l’objet vers l’installation, une forme de pénétrable que peut expérimenter le spectateur/usager. Il suffit d’examiner les variations d’échelles et la répétition modulaire créant une architecture mouvante chez Ronan et Erwan Bouroullec pour comprendre les glissements opérés entre l’unité et l’environnement qu’elle construit. La manipulation des échelles questionne, au cœur de l’espace même (qu’il s’agisse du cadre institutionnel de l’exposition ou de la sphère personnelle de chaque individu), la classification des objets, ainsi que leur hiérarchisation. Ces problématiques sont propres à un type de pratique, dont la poïétique use du détournement des produits de la nature et, notamment, des trois règnes animal, végétal et minéral. La transposition de pratiques naturalistes visant à établir un dépaysement par l’objet (au sens d’un déplacement hors d’un contexte habituel) découle d’une réflexion autour des modalités de l’hybridation. Ainsi, lorsqu’on se penche sur les textes jalonnant l’histoire naturelle et, en particulier sur ceux traitant des problématiques de classification, d’Aristote à Pline l’Ancien, en passant par la nomenclature de Carl von Linné, on remarque la récurrence (ou « survivance » pour reprendre la formule initiée par Georges Didi-Huberman), d’éléments situés dans l’entre-deux. Ces « types », que nous pouvons qualifier d’« aléatoires » révèlent un déplacement constant de la norme et questionnent la détermination du monstre. À partir de quel moment pouvons-nous juger du caractère anormal de tel élément ? N’existe-t’il pas des objets, qui, tout en présentant tous les « symptômes » du monstre coïncident malgré tout avec les modèles établis ? L’analyse des pratiques actuelles convoquant des démarches de création à la croisée des Arts Plastiques et du design révèle une influence profonde de ce type de fabrique pour un imaginaire scientifique, qui prend sa source dans le theatrum mundi des cabinets de curiosités. D’ailleurs, on observe, depuis le début des années 1990 (et surtout suite à la constitution de la collection d’art contemporain Curios & Mirabilia par Jean-Hubert Martin en 1993, visant à confronter un lieu chargé d’histoire, le château d’Oiron à la production d’artistes divers) une recrudescence des expositions empruntant la forme des cabinets de curiosités, afin de susciter un intérêt renouvelé pour l’objet d’art et en particulier les échos foisonnants entre les artefacts (œuvres et objets d’art, même s’ils prennent l’apparence d’installation) et l’univers poétique de la nature, manifestation viscérale d’un retour aux origines. Ainsi, l’emprunt symbolique de la figure des « zoophytes » ou plantes-animaux, mentionnés dans les traités d’histoire naturelle les plus anciens nous permet d’interroger la transversalité des pratiques artistiques qui cherchent à provoquer un décloisonnement des disciplines, en faisant de l’objet une entité située à la croisée des démarches de création. / The observation of the actual artistic productions shows a trend towards a hybridization of disciplines. This statement concerns particularly a type of design practices which is increasingly shifting towards objects manufactured in small quantity, even in unique pieces questioning the relations between the users and their familiar spaces and more specifically their intimate sphere. Even though most designers reject the comparison of their production with plastic arts, we can see that some of them have adopted approaches similar to those of plasticians. The formulation of this hypothesis brings up the questions of the validity of classifications and the legitimacy of the laws presiding to their constitution. Furthermore, the production of designers who integrate similar approaches to those of artists is built on an evolutive mode, the object being developed towards art installation, a form of penetrability a spectator/user can experience. By examining the scales variations and the modular repetition creating a fluid architecture in Ronan and Erwan Bouroullec design, we can understand the shifts operated between the piece and the environment it builds. Scales manipulation questions at the heart of the space itself the established objects classifications as well as their hierarchization (in domestic space and in exhibitions too).These issues are specific to a type of practice, which the poetic uses, of diverted natural products and especially the three systems : vegetal, animal and mineral. The transposition of naturalistic practices aiming at bringing a change through the object ( in the sense of placing it out of the usual context ) derives from considerations around the processes of hybridization. Thus, when one looks at natural history writings, and, in particular, those of Aristotle, Pliny the Elder or the nomenclature of Carl von Linné, we notice the recurrence ( or” survivance” to use the expression initiated by Georges Didi- Huberman) of elements located in an in-between space. Those types that we can describe as “random practices” reveal a constant displacement of the norms and question the determination of the monster. At which moment, can we designate an element as being abnormal? Aren’t there objects which, while presenting all the characteristics of the monster, coincide nonetheless with established models ? The analysis of actual practices standing at a crossroad between plastic arts and design reveals a profound influence from this type of process for a scientific imaginary inspired by the theatrum mundi of the curiosities cabinets. Moreover, we can observe since the beginning of the 1990ies (in particular, following the constitution of the contemporary art collection “Curios & Mirabilia” by Hubert Martin, aiming at confronting a place charged with history , Oiron Castle, to the production of various artists) a resurgence of exhibitions using curio cabinets forms. The aim is to renew the interest in artifacts and especially the relations of those manufactured objects and the poetic universe of nature, a manifestation of visceral attachment to primitive origins. Thus, the symbolic use of the figure of “zoophytes” or animal-plants, mentioned in the most ancient natural history treaties helps to show the transversality of artistic practices trying to dismantle the partitions between disciplines by placing the object as an entity at the crossroad between the creation processes. Through artists, designers and actors of institutions interviews, we can identify too major types of practices inscribed in a fertile prolongation of nature : a type of art which uses the formal aspects of flora and fauna to create a common vocabulary for art and design, alongside with a type of production transposing natural mechanisms which become creation protocols applied to the conception of objects.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação trata das visualidades buscadas no campo da arte contemporânea utilizando como linguagem o videogame e sua estética, que se formam como transfigurações das ideias de um mundo estruturado em códigos, uma informação entre os signos que convivem no cotidiano do homem comum. Neste caráter, o trabalho artístico aliado ao videogame propõe estados de percepção estética e interação com o espectador como forma estrutural da obra, como a obra em si. Unir a arte com o videogame para alcançar a mistura entre artista, obra e espectador / This dissertation deals with visualities sought in the field of contemporary art, using as the videogame as language and its aesthetics, formed as ideias of a visual transfigurations of a world structured in codes, an information between signs in daily living of the common man. In this character, the artwork coupled with videogame proposes levels of aesthetic perception and interaction with the viewer as a structural form of the work, like the work itself. Linking the art with the videogame achieve the combination between artist, work of art and the viewer

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação trata das visualidades buscadas no campo da arte contemporânea utilizando como linguagem o videogame e sua estética, que se formam como transfigurações das ideias de um mundo estruturado em códigos, uma informação entre os signos que convivem no cotidiano do homem comum. Neste caráter, o trabalho artístico aliado ao videogame propõe estados de percepção estética e interação com o espectador como forma estrutural da obra, como a obra em si. Unir a arte com o videogame para alcançar a mistura entre artista, obra e espectador / This dissertation deals with visualities sought in the field of contemporary art, using as the videogame as language and its aesthetics, formed as ideias of a visual transfigurations of a world structured in codes, an information between signs in daily living of the common man. In this character, the artwork coupled with videogame proposes levels of aesthetic perception and interaction with the viewer as a structural form of the work, like the work itself. Linking the art with the videogame achieve the combination between artist, work of art and the viewer

Le collage et le cut-up sont deux « procédés » apparus, comme pratique et comme concept, dans le courant du XXe siècle : dans la première décennie pour ce qui est du collage et, pour le cut-up, à la fin des années cinquante. Le terme de collage est issu des arts plastiques, et des pratiques qui ont succédé aux expérimentations des « papiers collés » de Georges Braque et Pablo Picasso à partir de 1912, tandis que celui de cut-up est emprunté à l'écrivain américain Brion Gysin expérimentant cette technique, avec William Burroughs, en 1959. Une cinquantaine d'années sépare les deux « procédés », qui ne recouvrent pas exactement les mêmes pratiques, comme le notait Brion Gysin : « L'écriture a cinquante ans de retard sur la peinture », en entendant par là appliquer à la lettre – et à la littérature – la pratique même des « papiers collés » des expérimentations cubistes.Cinquante ans de retard ? Rien n'est moins sûr en réalité, si l'on examine l'histoire de la pratique dans la littérature, notamment à travers les expérimentations des premiers courants d'avant-garde, puisque se mettent en place, dès 1912-1913, des procédures de transmédiation qui font progressivement glisser l'esthétique du collage des arts plastiques à la poésie.C'est sur l'histoire de ces cinquante années « de retard » que voudrait revenir cette étude, pour examiner les différentes formes que prend cette transmédiation de l'esthétique du collage dans les courants d'avant-garde, jusqu'à l'invention du cut-up. / Collage and cut-up are two techniques that have emerged – as a practice and as a concept – in the mid-twentieth century: collage appeared in the first decade, while cut-up appeared in the late fifties. The word collage comes from the visual arts and from the practices that have succeeded to the experiments that Georges Braque and Pablo Picasso did with “papiers collés” from 1912, while the term cut-up is borrowed from American writer Brion Gysin who experimented this technique together with William Burroughs in 1959. Some fifty years separate the two techniques which do not cover quite the same practices as Brion Gysin noted: “Writing is fifty years behind painting”, thereby meaning to strictly apply to literature the very practice of “papiers collés” of cubist experiments.

Ce travail présente le développement d’une nouvelle approche pharmacoépidémiologique, reposant sur les bases de données de l'assurance maladie, permettant de caractériser et d’estimer le détournement d’usage de médicaments psychoactifs. Cette approche utilisant la méthode de classification, regroupe, a posteriori, les sujets en différents sous-groupes, menant à l’identification, la caractérisation et la quantification de différents profils de comportement dont le comportement déviant. Nous avons appliqué cette méthode sur plusieurs médicaments. Pour chaque médicament, nous avons inclus l'ensemble des sujets affiliés au régime général des régions PACA et Corse ayant eu un remboursement. Leurs délivrances ont été suivies sur 9 mois. Après une analyse descriptive, une méthode de classification est appliquée, suivie d’une analyse des différents sous-groupes.Un premier travail a permis de confirmer l'importance du détournement d'usage d'une molécule émergente, le clonazépam (publication n°1). Ensuite nous avons adapté notre méthode afin de pouvoir suivre l'évolution sur plusieurs années de ce détournement (publication n°2). Nous avons appliqué cette méthode pour souligner l’existence, sur plusieurs années, du détournement d'usage du méthylphénidate (publication n°3). Notre équipe avait également développé une autre méthode pour estimer la polyprescription (publication n°4). Enfin, nous avons appliqué de façon conjointe ces deux méthodes (publication n°5). La méthode de classification est de plus en plus utilisée afin de surveiller l'évolution du détournement d'usage de médicaments et commencent à être intégrés au système français de surveillance de l’abus de médicament.aux cotés des autres outils pharmacoépidémiologiques plus traditionnels (OSIAP, OPPIDUM, OPEMA, ASOS, DRAMES). / This work presents the development of a new pharmacoepidemiologic method. This methodallows to estimate abuse of psychoactive prescription drugs in real life using prescriptiondatabase. The method is based on a cluster analysis which is a statistical method used todetermine, a posteriori, different subgroups of subjects. According the subgroups’characteristics, we can determine and estimate different behaviours whose subjects with adeviant behaviour. It assesses the rate of subjects with a deviant behaviour among all thesubjects that obtain the drug from a pharmacy.We used this method on several prescription drugs. For each prescription drug, we includedall individuals, affiliated to the French health reimbursement system of two southern Franceareas (Provence-Alpes-Côte-d’Azur and Corsica), who have had a prescription drugreimbursed during the first weeks of the year. Their deliveries have been monitored over a 9month-period. After a descriptive analysis, a clustering method has been used. The fourquantitative variables used to establish profiles of consumers were : number of differentprescribers, number of different pharmacies, number of dispensings and quantity dispensed(DDD). Finally, the characteristics of different subgroups have been presented, especiallythose with a deviant behavior.The first study using this method allows to confirm and assess the magnitude of the abuseliability of an emerging prescription drug as clonazepam (publication n°1). Then we adapt thismethod in order to follow the abuse evolution during several years. In the second publicationon clonazepam, we identified that the proportion of deviant subjects has increased between2001 and 2006 (from 0.86% to 1.38%). We also applied this method to estimatemethylphenidate abuse during several years (from 2005 to 2008) (publication n°3).Methylphenidate abuse is already describe in other countries whereas few data are available inFrance. This study estimates the proportion of subjects with a deviant behaviour (from 0.5%9in 2005 and in 2006 to 2.0% in 2007 and 1.2% in 2008) and assesses its evolution since theapplication of a specific regulation.Our research team has also developed an other method using prescription database : thedoctor shopping indicator which measures the quantity obtained by doctor shopping amongthe overall quantity reimbursed (publication n°4). The objective of the last publication is toanalyze and compare results from those two methods applied to High Dosage Buprenorphine,a product well-known to be diverted in France.Actually, clustering method is more and more used on prescription drugs in order to assesstheir abuse. The results obtained by this method begin to be included in the other postmarketing surveillance of CNS drugs (OSIAP, OPPIDUM, OPEAM, ASOS, DRAMES)which are used by French public health authorities.

Le détournement publicitaire est une nouvelle pratique par laquelle l’internaute modifie une publicité dans le but, entre autres, de dénoncer, de se moquer ou de s’amuser aux dépens d’un produit ou d’une marque. Cette publicité détournée générée par les utilisateurs (DPGU) peut être propagée via les médias sociaux et atteindre un nombre d’internautes et de visionnements important. Mais influence-t-elle le récepteur? Peut-elle nuire à l’entreprise ou à la marque? Dans le cadre de cette étude quasi expérimentale, nous analysons la cognition envers le DPGU et la cible, c’est-à-dire la compréhension qu’en a le récepteur. Puis, nous mesurons son attitude (niveau d’appréciation) envers le DPGU et la cible. Enfin, nous voyons si ces deux variables modifient l’intention d’acheter des récepteurs. En parallèle, nous nous intéressons à la question de la propagation des DPGU dans la communauté virtuelle.

A pesquisa de Doutorado em Poéticas Visuais, intitulada “A (des)ordem doméstica: Disposições, desvios e diálogos”, do PPGAV/IA/UFRGS, orientada pelo Prof. Dr. Hélio Fervenza desde 2005, partiu da visita a casas de colaboradoras, que registraram a disposição e o display dos objetos de seu lar. Na minha casa, comecei a desenvolver procedimentos táticos de détournement (desvio) das minhas práticas domésticas e artísticas com base em modelos da vida cotidiana – os registros das visitas, os processos domésticos materiais e sociais, sua efemeridade e seus acasos – notando algumas referências na arte: os Tableaux Piéges (Pinturas Armadilhas, 1960-70) de Daniel Spoerri. Gartenskulptur (1968- 96) de Dieter Roth, Gordon Matta-Clark, Kurt Schwitters, bem como a noção de “arte comoa- vida” em Allan Kaprow. Entre 2005 e 2006, emergem procedimentos de desvio (détournement) de processos de uso e da função de objetos domésticos a pa rtir de sua reconstrução, usando como materiais de trabalho as “sobras, que se referem aos objetos inúteis, guardados e acumulados na minha casa. A operação poética, a “to-pó-grafia”, investiga a disposição pelo desvio de um guardanapo de crochê para a função de matrizestêncil coberta com poeira, embaralhando a ordem cultural deste objeto. O gesto doméstico de varrer sofre o desvio através dos “re-enquadramentos”, quando poeira e detritos do chão são transformados em “quadros” pendurados na parede em cima do sofá, problematizando um modelo da arte, bem como um modelo doméstico de disposição e de display. A partir do final de 2006, experimentei com a inserção da documentação fotográfica das visitas em objetos domésticos reais ou reconstruídos. Esse é um dos procedimentos que elabora questões de apresentação pública. Emerge nesta etapa, a proposta de apresentação e display: a domesticação. Essa se refere à operação de “domesticar um espaço não-doméstico”, pela recontextualização. Por exemplo, de uma garagem, uma sala de aula ou galeria, a partir de modelos de disposição observados em casas. A domesticação de uma galeria faz com que a função estética dos objetos e sua função social oscilem, transformando o espaço em meio para fornecer um contexto para diálogo e trocas. Uma das táticas para potencializar tais interações inclui minha presença no espaço de apresentação, em certos dias e horários, para “receber as visitas”, trocar palavras, compartilhar chá com bolachas... visando a instaurar dúvidas sobre a função e a (des)ordem dos objetos ali dispostos e propor outro modelo social para as relações que podem ocorrer dentro de um espaço íntimo público. / The doctoral research project in Visual Poetics, entitled, “Domestic (dis)order: (dis)placements, detours and dialogues”, at the PPGAV/IA/UFRGS, oriented by Professor Hélio Fervenza, PhD since 2005, initially proposed visiting the houses of collaborators who recorded the placement and display of objects in their homes. In my house, I proceeded to develop tactical procedures of détournement (detour) of my domestic and artistic practices based on quotidian models - the records of visits and observed domestic material and social processes, both ephemeral and random - noting some of my references in art: the “Tableaux Piéges” (Snare Pictures) (1960-70) by Daniel Spoerri; “Gartenskulptur” (1968-96) by Dieter Roth; Gordon Matta-Clark, Kurt Schwitters, as well as the notion of “lifelike art” in Allan Kaprow. Between 2005 and 2006, procedures emerge that detour (deturn) the processes of use and the function of domestic objects through their reconstruction, using as work materials the “leftovers”, which refers to all useless objects that had been stored and were accumulating in my home. The “dust-o-graph” investigates the placement of crochet doilies by detouring their everyday function into a graphic tool for stenciling with household dust, shuffling this object’s cultural order. The household gesture of sweeping suffers a detour through the procedure of “re-picturing” when floor dust and scraps are transformed into “pictures” placed hanging on the wall above the sofa, problematizing a model of art, as well as a model of placement and display in the home. Toward the end of 2006, I began to experiment with insertion of photographic documents from visits into real or reconstructed domestic objects. This is one of the procedures developed to elaborate questions involving public presentation. At this stage, the poetic proposal of public presentation and display “domestication” emerges. This refers to the operation of “domesticating a non-domestic space” by recontextualizing, for example, an art gallery, a classroom or a garage using placement models observed in homes. The “domestication” of a gallery makes the aesthetic function of objects and its social order oscillate, transforming the space into a means to offer a context for dialogue and exchanges. One of the tactics for potentializing interactions is my own presence in the presentation space, at certain times, when I “receive visitors”, converse, offer tea and cookies… aiming to place doubt on the function and order of objects (dis)placed there and at proposing an alternative social model for the relations that may occur within an intimate public space.