Le biohacking est une vive critique contre les institutions scientifiques officielles et un appel à plus de liberté à travers notamment la constitution de laboratoires citoyens « indépendants », les biohackerspaces. Mon étude philosophique et anthropologique s’est basée essentiellement sur un laboratoire citoyen, la Myne à Lyon. Après une partie historique décrivant et analysant les influences épistémologiques dont s’inspire le biohacking, je me suis posé plusieurs questions : en quoi la pratique du bricolage technique et scientifique réalisée dans ces espaces, amène à construire de « nouvelles » normes et valeurs morales ? Comment se construit l’éthique collective au sein d’un espace tel que la Myne ? Comment les valeurs morales défendues sont opérationnalisées sur le terrain ? Comment s’articule la construction d’une éthique collective avec l’ensemble des éthiques individuelles au cours du temps ? L’objectif de ce travail, à travers l’analyse critique de ce mouvement, est de conduire à une réflexion plus large sur la participation citoyenne dans les choix technoscientifiques et sur les politiques de production scientifique et technique. / Biohacking provides sharp criticism against official scientific institutions and endorses a call for more freedom through the constitution of “independent” citizen laboratories, the so-called biohackerspaces. My dissertation, which has a philosophical and anthropological focus, is based essentially on the study of a citizen laboratory, la Myne in Lyon. After a historical part, dedicated to the description and analysis of the epistemological influences which inspire biohacking, I poses several questions: how does the practice of technical and scientific Do-It-Yourself in these spaces lead to the construction of “new” norms and moral values? How is collective ethics articulated in a space like la Myne? How do the moral values defended become operative with the set of an individual ethics throughout the time? The aim of this dissertation is to lead through a critical analysis of biohacking to a broader reflection on citizens’ participation in techno-scientific choices and on policies concerning scientific and technical production.

This thesis considers the cultural significance of Web-based exchange practices among the participants in contemporary western mainstream culture. The thesis argues that analysis of these practices shows how this culture is consumption oriented, event-driven and media obsessed. Initially, this argument is developed from a critical, hermeneutic, relativist and interpretive assessment that draws upon the works of authors such as Baudrillard and De Bord and other critiques of contemporary 'digital culture'. The empirical part of the thesis then examines the array of popular search terms used on the World Wide Web over a period of 16 months from September 2001 to February 2003. Taxanomic classification of these search terms reveals the limited range of virtual and physical artefacts that are sought by the users of Web search engines. While nineteen hundred individual artefacts occur in the array of search terms, these can classified into a relatively small group of higher order categories. Critical analysis of these higher order categories reveals six cultural traits that predominant in the apparently wide array of search terms; freeness, participation, do-it-yourself/customisation, anonymity/privacy, perversion and information richness. The these argues that these traits are part of a cultural complex that directly reflects the underlying motivations of contemporary western mainstream culture. The daily practices of Web-based search and exchange thus reproduce and reinforce this cultural complex. The empirical work of the thesis validates the critical assessment of western mainstream culture developed in the initial chapters of the thesis.

DIY- “Do it Yourself” är en ny trend som går ifrån konsumtionssamhället för att istället värna om det genuina hantverket. Få studier har presenterat hur en visuell varumärkesidentitet bör utformas för att förtydliga dessa typer av verksamheter. Rapporten syftar till att undersöka hur en logotyp kan utformas för ett Hantverksföretag utifrån verksamhetens kärnvärden, för att skapa önskvärda associationer och därmed stärka varumärkets identitet. Under studien har arbetet genomförts utifrån ett “case-företag” vid namn Hantverksgården. Genom företagets kärnvärden, genuint, lantligt och idylliskt har rapporten undersökt hur en logotyp bör utformas för att reflektera verksamheten. Genom att identifiera verksamheten och söka inspiration utifrån kärnvärdena togs två logotyper fram. För att besvara syftet värderades vardera logotyp med åtta respondenter. Logotyperna undersöktes utifrån sex kriterier minnesvärd, meningsfull, älskvärd, originalitet, skalbarhet/mångsidighet/överförbarhet och utförande. Studiens visade genom att framhäva verksamhetens ursprung skapades associationer till begreppet genuint. Kärnvärdet lantligt reflekterades genom avbildade objekt kopplade till verksamheten. Genom dekorativa illustrationer kunde logotypen uppfattas som idyllisk. Kriterierna älskvärd och meningsfull visades vara de viktigaste kriterierna för att uppfylla önskvärda associationer.

L'émergence d'un nouveau médium ne laisse jamais intacts les médias qui l'ont précédé (McLuhan, Debray). Cette logique n'échappe pas au paradigme actuel, théâtre d'un bousculement majeur depuis l'apparition des technologies numériques. C'est ainsi qu'à l'heure du post-lnternet, le médium imprimé demeure telle une épave échouée sur la rive du progrès. Du fait de cet état, les mécanismes de ce médium s'offrent dans leur plus simple appareil à l'imagination des artistes contemporains qui, par l'usage de stratégies diverses, en développent de singuliers emplois - réveillant ce médium à l'instar d'un zombie (Parikka & Hertz). Cette thèse entreprend de présenter quelques-unes de ces nouvelles affordances (Norman) du médium imprimé développées depuis les années 2000 par une sélection d'artistes internationaux et par l'auteur, en solo et en collectif, à partir desquelles il s'agira de répondre à la question suivante : pourquoi imprimons-nous (nous, les artistes) encore ? Pour ce faire, l'auteur a forgé trois concepts : « ur-imprimo », « nouvel impressionnisme » et « exo-digital ». Au contact de ces derniers, l'auteur entend déplacer le centre de gravité des analyses médiatiques du médium imprimé en art des questions de reproductibilité (Benjamin), de mécanisation, d'uniformité et de fixité (McLuhan), vers les notions d'empreinte (Didi-Huberman), de trace (Derrida), de pratique vivante et de bricolage (Lévi-Strauss). Subséquemment à cette reprogrammation, l'estampe fait place au « printwork » (Cramer) et la figure du graveur à celle de l'artiste-imprimeur. / The emergence of a new medium never leaves intact the media which preceded it (McLuhan, Debray). Being the scene of a radical shift since the advent of new technologies, the actual paradigm is obviously not immune to this logic. That is why, in these limes of post-digital printed matter remains like a wreck on the shores of progress. As a result, the medium's mechanisms are offered to contemporary artists' imagination who, through the use of various strategies, develop singular new functions within it - awakening this medium like a zombie (Parikka & Hertz). This essay undertakes to present some of the new affordances (Norman) of the printed medium developed since the 2000's by a selection of international artists and by the author, alone or as a collective, from which the intent will be to answer the following question: why do we (artists) still print? ln order to do so, the author has forged three concepts: "ur-imprimo", "nouvel impressionnisme" and "exo-digital". With these concepts, the author thus intends to shift the center of gravity of the mediatic analysis of the printed medium in art from the question of replication (Benjamin), mechanization, uniformity and steadiness (McLuhan) towards the notions of imprint (Didi-Huberman), trace (Derrida), living artistic practice and do-it-yourself (Lévi-Strauss). Subsequently to this reprogramming, etching makes room for "printwork" (Cramer) and the printmaker becomes the artist-printer.

The present diploma thesis maps the concepts, characteristic features and cultural-social contexts of functions of the "Do It Yourself" phenomenon. It addresses various interpretations of the phenomenon, it creates general features, and it attempts to define its position based on the experience gained from the research carried out and from the literature studied. It primarily captures the action of the phenomenon during the communist and post-communist era in the Czechoslovak and later the Czech Republic, as well as the influence of various socio-political systems on its appearance. Didactic elaboration of the topic focuses on the application of the DIY principles in teaching activity and it presents an "In & Out" artwork line integrating these ideas into the current conditions of teaching art education. The artwork part represents starting points, the process and the realization of the author's binding of the diploma thesis, which is again based on the application of DIY ideas.

No description available.

An analysis and explanation of my reasons for working in video, painting and drawing, and sculpture, considering the technological developments of the past decade; the possibility to use the internet as a distribution tool for works of art, and to shift the decision-making balance of the art-world; the ways that this approach is a democratic format for output in the arts and within communities of artists; an explanation of my studio practice while a graduate student at Virginia Commonwealth University.

This business plan for expanding a home improvement company emphasizes: attracting more customers to increase sales; establishing new companies such as contractors, distributors, and wholesalers; and leading the market for home improvement goods and construction materials in Lampung.

The goal of this thesis is to define proces of creating the concept of category management and to apply the proces via existing assortment concept of certain retail company. The theoretical part covers basics of category management, merchandising and other related disciplines and its influence to creating concepts. Practical part includes detailed description of creating the concept, realized by retail company, selling Do it yourself products. Creation proces will start by anylysing current sutiation, following by determination of category strategy and objectives and implemetation of new concept.

The thesis primarily aims to analyze the situation of DIY culture on the specific case of contemporary DIY photography through a research focused on photography students and alumni at Czech photography programmes. The research consists of fifteen in-depth interviews conducted with the students or alumni providing qualitative data that is analyzed quantitatively using the interviewees' coded answers. The secondary aim is to provide a theoretical background to the topic of DIY photography, exploring the connection between photography and DIY (Do It Yourself) in its historical context, as well as its current standing, as well as to introduce the photography medium's evolution briefly, focusing on the methods that were discovered, or applied, with a certain level of amateurism or through contribution from another field. Later, it explores the concept of DIY in different forms, subcultures, and contexts to draw a conclusion of how photography and DIY relate. The thesis' findings are centred around the struggle photographers feel when it comes to DIY in digital technologies, mainly due to limits in their skills in hands-on processes compared to analogue photography and the overall level of satisfaction with the available technology.