Cette thèse examine l’organisation départementale et ses dé/recompositions territoriales en lien avec le numérique dans un contexte changeant où la question de l’efficacité de l’action publique se pose davantage. A la différence d’autres travaux, cette recherche s’appuie sur une définition dynamique du territoire comme cadre de l’action collective et sur une conception élargie du processus organisationnel comme tissage enchevêtrant des lignes de dé/re/territorialisation qui seraient des modes d’être et d’agir et qui seraient alors impliquées dans le processus de structuration des organisations efficaces. Ce dernier est étudié sur la base d’un modèle selon lequel la propension à l’efficacité se retrouve cristallisée de manière manifeste ou latente dans les supports numériques et leurs configurations associées. Les phénomènes de dé/re/territorialisation du et par le numérique sont analysés au sein d’un Département où nous avons été immergéependant trois ans. Si la coexistence du codage et décodage organisationnel rend le territoire vivant, à la fois actuel et en devenir, la tendance à la radicalisation des codes via le numérique questionne la capacité à renouveler le potentiel d’efficacité. / This thesis examines the local French administration and its territorial de/reconstructions in relation to the digitalization process in a changing environment in which the efficiency of the public action is of main concern. Contrary to other studies, this research is based on a dynamic definition of the territory as a framework for collective action and on a broad concept oforganizational process which produces a weaving where lines of de/re/territorialisation get entangled. These lines are studied as a manner of being and acting and are thus involved in the process of structuring effective organizations. This process is observed from the perspective that the propensity to efficiency is found underlying or manifest in the form of digital media and its joint arrangement. The de/re/territorialisation mechanisms linked to digitalization were investigated during a three years fieldwork. If the coexistence of organizational coding and decoding are making the territory alive, actual and becoming at the same time, the tendency to higher code enhancing through digitalization challenges the capacity to renew the potential of efficiency.

This essay is an attempt at examining the general logic of derivation, the organisational geno-practice of financial derivationówhat I have called: reiterative derivation. I will endeavour to reiterate, to repeat otherwise, to displace the derivative distinction which apart from providing the financial markets with ever new business opportunities, makes financial instruments like options and futures the potential turning point, the crisis, the utmost risk, the pure possibility, of any economic reality. Stated another way, reiterative derivation is the opening of economy, the economyís way out, its line of flight, its passibility, the invention of its future. A derivative is a financial strategy designed to handle price risks, value fluctuations in its underlying economy; it performs this task by acting simultaneously as either an instrument or a marketable commodity. Offering itself not only as a forceful appendage, a financial device, but as the possibility to deterritorialise displace unsecure uproot its underlying economic reality, the derivative displays an extremely creative approach to the economic world. What I would like to indicate in and through the present essay, then, is how financial derivation works. Not so much, perhaps, in the instrumental sense, but rather as a vehicle allowing one to create and travel into economic worlds, or, perhaps better, economic assemblages, economic ensembles so complex and complicated that they can no longer be understood as either this or that, either, for instance, real or imaginary, but should rather be interstood as imaginary economic realities, either or ... or ... or ... both and ... and ... and ... Abstract, as I use it here, should not be understood in its (perhaps) most common or ordinary sense, as a summary or epitome, as something that presents the point, comprises or concentrates the essence of my essay and thereby facilitates its comprehension. It should rather be interstood as, at one and the same time, a deviation, a diversion, an attempt to draw your attention away from the textual strategies employed (the word abstract derives from the Latin verb abstrahere, to draw away, withdraw); to ìguideî your reading, that is to say, to lure you into the textís own protocols of reading, sheltering thereby the text from being conceived too generously, a way of inviting you to invent your own reading, to write while reading, to proceed with a Deleuzean restrained step, to decide without choosing, to hold while letting go, to grasp while leaving be, to open yourself up to what is still to come, to not knowing what will happen before it happens, to the possibility of nothing happening, towards that which is (always) in the process of coming about, to adventure, the future, to the theme of this essay: the experience of financial derivation, the geno-practice of financial derivation, the economyís monstrous other, the economic futureóto, in short: reiterative derivation.

Within contemporary performance arenas young people are fast becoming part of the vanguard of contemporary performance. Performativity, convergence and openness of form are key animating concepts in the landscape of Theatre for Young People (TYP). To ignore what is taking place in the making of performance for and by young people is to ignore the new possibilities in meaning-making and theatrical form. In this period of rapid technological change young people are embracing and manipulating technology (sound, image, music) to represent who they are and what they want to say. Positioned as &quotcultural catalysts", &quotthe new pioneers" and &quotfirst navigators" young people are using mediatised culture and digital technologies with ease, placing them at the forefront of a shift in cultural production. Performance commentators (Schnechner 2002; Shusterman 2000; Auslander 1999; Hill and Paris 2001; Phelan 1993 and Kershaw 1992) believe that there has been a profound shift in the nature of making theatre and performance works. The forces of globalisation, the new economy and advancements in new media technologies have affected young people's making of performance. Three key concepts animate contemporary young people's performance devising and presenting processes. These concepts can be defined as: performativity, convergence and openness of form. These three categories can be harnessed under the umbrella concept of deterritorialisation. The processes of deterritorialisation allows for the synthesis of new cultural and performance genres by fragmenting and hybridising traditional cultural categories and forms including the use of new media technologies. Almost half of all TYP performances now incorporate the technologies of reproduction. The relationship between live and mediated forms, the visceral and the virtual is allowing young people to navigate and make meaning of cultural codes and cultural forms as well as to engage in an open dialogue with their audiences. This thesis examines the way young people are using elements of deterritorialisation to become producers of new performance genres.

This thesis establishes a phenomenology of desire in Anne Carson’s novel-in-verse Autobiography of Red. It examines how desire constructs the self in the text and how it positions it in relation to its surrounding world. The self’s status in the text is read through Gilles Deleuze and Felix Guattari’s understanding of desire and their concepts becoming and deterritorialisation as explicated in Anti-Oedipus and A Thousand Plateaus. These concepts are used to map the transformative power of desire in Autobiography of Red and provide an approach through which to understand the tenuous nature of self in the text. It reveals desire not as located solely in the relation between the text’s protagonist Geryon and Herakles, but as a movement that animates and constructs the text. It reads the “red” of the title, the presence of the volcano, of lava, as essential to the text, mapping how the force of desire positions the self and undoes the notion of a phenomenal “background”. Deleuzian desire has linguistic implications and the thesis further extends the use of becoming and deterritorialisation to understand Carson’s poetics and the text as the site that gives rise to a phenomenology of desire. The text is deterritorialised and Carson articulates a way of relaying experience beyond the representative mode. The thesis offers a reading of Autobiography of Red with a Deleuzian theory of desire, which is a new approach in Carson scholarship. As such it hopes to open up both the poetic text and theoretic text to new understandings and create points of departure for further research.