My thesis project is attempting to investigate the notion of estrangement as a qualitative effect and discover various strategies and technics of estrangement in the field of architecture.These investigations will aim to design a cultural center as an institute for discovering more about the displaced situation of mankind in the twenty-first century, producing a defamiliarized aesthetic that is both alien and strangely contextual to our new cultural identity which embraces the concepts of disorientation and otherness. This center will be designed as a public exhibition and community building, integrating a high variety of programs and functions for attracting people of all ages and backgrounds, addressing the instability and fragility of our environment.Architecture is always incomplete and reliant on multiple layers of interaction and engagement, I aim to produce spaces that are challenging, lacking clear boundaries or hierarchies which demand new forms of interaction between architecture and subject, and offer a new understanding of space and material.

This work is a string of essays that aesthetically frames estrangement as the quintessential experience of modern culture. Accordingly, detachment and distance are themes that persist throughout these essays. They weave their way through the cultural, social, psychological, and spatial dimensions of modern life, but at a tentative remove. Such a level of generality precludes any claims of the work to be a methodical dissection of the subject matter. Neither is it a series of literature reviews or response letters to canonical essays. It is, primarily, a literary reflection on the matter; an assemblage of evocative rhetoric that dramatizes the experience of modern estrangement. Each passage is written as a commentary that insecurely hovers between the categories listed above. What all these evasions enable in turn is a text that mirrors the attitude of the dilettante, comfortably flitting between passages that trail off from the lingering mood of one essay to the next. The work of a handful of German cultural theorists of the early 20th century supply the primary sources to this reflection, and what I have tried to draw from a selection of their writings is a mental state that tries to peer through the opacity of the metropolitan spectacle. The mood that is meant to be evoked here is the obverse of the glamour and excitement associated with the imagined social life of the big city. Urban is a word that has seen its definition drowned out by the associative imagery around it; in other words, its connotations overwhelm what the term is meant to denote. The psychological counter-pole to such imagery is the characteristically urban disposition that is marked by a refusal to be dazzled. This sort of disinterestedness directly feeds into the endless pursuit of the new, and the compulsion to seek a lost sense of wonderment. In what is to follow, I have tried to find resonance with the notion of the urban on such a note of resignation.

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This thesis approaches 'trauma' in theatre and performance from the perspective of communication studies. Since 'trauma' is an unspeakable and unrepresentable inner state, I thus conceptualize the term 'the traumatic/spectrum' to refer to layers of reality, meaning and experience that can be expressed, represented and/or spoken about in relation to a traumatizing encounter. Through practice-led research, I propose a multi-sensorial devising tool for theatre & performance makers primarily, and artists of all disciplines, to facilitate a performance process for individuals who have walked through a traumatic or post-traumatic journey ('journeyers'), and have a desire, need or purpose to communicate to an audience. Based on a syncretism in journalism, ethnography, psychology, and art therapy techniques, this methodology draws out the form and the content through which individuals desire to communicate about their experiences. Conceptualized here as the re-creation process, this methodology tackles different types of communication predicaments or 'distance' between audiences and 'journeyers' when addressing the traumatic, including: disbelief, voyeurism or sensationalism, and the tendency to habituate, fatigue, de-sensitize, avoid, avert and/or alienate from the traumatic and those who journey with this reality. In response, I endorse the interrelation of two aesthetic manifestations that can 'bridge' different types of psychological, emotional, sociocultural and physical 'distance': one is a realm of theatre & performance which renders semantic and somatic forms of expression indivisible, and the other is Magical Realism. These aesthetics are applied as channels and strategies to engage participants in a meaningful, empowering, and pleasurable 'shared' experience beyond the therapeutic. Finally, I propose the term traumagical realism to further identify and explore the parallels between Magical Realism and the traumatic. Traumagical Realism is a liminal territory that can offer a deeper understanding of the traumatic, and catalyze a social, aesthetic and affective force of engagement or 'commun(e)ication' between 'journeyers' and all participants involved in the devising process and culmination of a performance.

This practice-led Ph.D. is comprised of a body of work (hybrid films) and its contextual analysis. Together they constitute a method that aims to understand and re-interpret the dialogical relationship between live action and animation filmmaking. The research argues that from its beginning the art of moving images has presented a struggle between opposed tendencies such as imprint and construction , machine eye and artist s hand , dissection of time and condensation of time that are found between the unstable duality of live action and animation. While mainstream cinema has focused most of its efforts on taming the collisions that occur within the integration of live action and animation, it has also relied on the interface s instability to animate its being. As the interface becomes more invisible in the digital age, this research reconsiders the interaction between live action and animation in moving-image production and the construction of meaning in filmmaking as it incorporates the digital into its languages. In contextualising the double and fluctuating nature of co-presence in live action and animation, my question is How could the integration of the opposing attributes of live action and animation interrupt perceptual realism and produce a sense of estrangement in a meaningful way? Firstly this involves identifying the constantly mobile tension between live action and animation. Secondly integration is informed by ideas of estrangement and derealisation , and methods of interrupting perceptual coherence within the screened world to reveal insights into the world of social relations. Two underlying themes are addressed: (1) the uncanniness of co-presence, and (2) the expression of subjectivity through this co-presence. Interrogating the constructedness of the hybridised figure as it appears on screen by exposing its inherent conflicts, and exploring the aesthetics of estrangement and the expression of subjectivity in hybrid films led to an inquiry about cinematic time and movement. This revealed another dimension to the difference and interrelationship between live action and animation. Being both the source and outcome of these themes as expressed in the written thesis, the practical component of this project consists of three hybrid films: Nothing to Do with Weather (3 50 ), Animating Animator the Animated (2 47 ), and Flying Tunes (8 27 ). Theoretical findings are identified through the analysis of works by other artists and discussion of their concepts, and my own practice contributes to knowledge by inspiring, assessing and demonstrating my ideas on hybridity. My three practices are, to some extent, an allegory about the alienation a Far-East Asian filmmaker may feel in a world seemingly dominated by Western paradigms. The films chart my Far-Eastern Asian independent filmmaker s research as a journey towards an adaptation of the aesthetics and methods of contemporary filmmaking originating in Western culture and philosophy. As a piece of research, the transformation of the researcher through practice may be considered of significance in the formation of theory.

L’objectif principal de cette thèse est d’examiner la représentation de l’exil dans un corpus d’œuvres de quatre poètes originaires de Valparaiso : Alicia Galaz, Osvaldo Rodríguez, Luis Mizón et Eduardo Embry; auteurs partis en exil après le coup d’État de 1973 et ayant créé depuis la distance un discours poétique sur le déracinement. Notre choix s’est porté sur cinq recueils de poèmes, trois en langue castillane, les deux autres en langue française, tous écrits en dehors du Chili (en Europe et aux États-Unis, lieux d’accueil des auteurs), des années 80 à nos jours. Les voici: Señas distantes de lo preferido (1990) d’Alicia Galaz, Cantos de extramuros (1994) d’Osvaldo Rodríguez, les œuvres lyriques en français de Luis Mizón: Province perdue (1988) et Marée basse. Suivi de six arbres (2012), et l’anthologie poétique d’Eduardo Embry Al revés de las cosas que en este mundo fenecen (2010). Selon nous, ces créations constituent un type alternatif d’écriture à partir de et sur l’exil chilien dont l’intérêt, contrairement aux écritures « canoniques » de cette période, ne réside pas dans la composition d’un témoignage visant à dénoncer la dictature militaire de Pinochet, ni dans la construction d’un imaginaire représentatif de l’agonie de l’identité nationale lié à cet événement. Il s’agit davantage d’observer l’élaboration discursive d’une évocation nostalgique du lieu provincial d’origine et d’un passé heureux (avant l’exil), exprimant la réinvention subjective de l’expérience du déplacement. Notre réflexion s’articule autour de l’écriture de la mémoire émanant de l’identité littéraire et linguistique des poètes ainsi que sur les différents niveaux de configuration de l’élégie. L’analyse comparée a dégagé cinq aspects récurrents dans les œuvres du corpus qui nous ont permis d’établir cinq catégories caractérisant la poétique du déracinement: le déplacement territorial; le déplacement émotionnel; l’étrangeté et l’« entre-deux »; la méta-poétique; et la critique à la modernisation. / The principle purpose of this thesis is to examine the representation of exile in the selected work of four poets native to Valparaíso: Alicia Galaz, Osvaldo Rodríguez, Luis Mizón and Eduardo Embry; that were exiled from Chile after the 1973 coup d'état and created, from a distance, a poetic discourse on estrangement. Five books of poetry are discussed, three of which were writen in Spanish and two in French, outside of Chile (in Europe and the United States, places of refuge for the authors) and from the 1980s to the present day. These are: the book of poetry by Alicia Galaz, Señas distantes de lo preferido (1990); the book of poetry Cantos de extramuros (1994), by Osvaldo Rodríguez; the lyrical works in French by Luis Mizón: Province perdue (1988) and Marée basse. Suivi de six arbres (2012); and the poetic anthology by Eduardo Embry, Al revés de las cosas que en este mundo fenecen (2010). We postulate that these creations constitute an alternative type of writing from and about Chilean exile, that unlike the “canonical” writings from this period, their interest does not lie in articulating a testimonial of condemnation about what occurred during the Pinochet dictatorship, nor do they construct imagery that represents broken national identity. These discourses construct a nostalgic evocation of the provincial place of origin and a happy past (prior to exile), expressing the subjective reinvention of the common experience. We will review the following issues: the type of memorial writing they construct; the literary and/or linguistic identity of the poets; and their different levels of eulogy. Through the comparative analysis of the works, we have been able to determine five recurring literary themes, those that collectively constitute the categories that define our proposal concerning the poetic of uprooting: geographic displacement; emotional displacement; estrangement and "in-between"; the meta-poetics; and the critique of modernization, which we carefully examine throughout this investigation. / El propósito principal de esta tesis es examinar la representación del exilio en la obra seleccionada de cuatro poetas oriundos de Valparaíso: Alicia Galaz, Osvaldo Rodríguez, Luis Mizón y Eduardo Embry; autores que fueron exiliados de Chile tras el golpe de estado de 1973 y que crearon desde la distancia un discurso poético sobre el desarraigo. Se trata de cinco poemarios, escritos tres de ellos en lengua castellana y dos en lengua francesa, fuera de Chile (en Europa y Estados Unidos, lugares de acogida de los autores), desde los años 80 hasta la actualidad. Estos son: el poemario de Alicia Galaz Señas distantes de lo preferido (1990); el poemario Cantos de extramuros (1994) de Osvaldo Rodríguez; las obras líricas en francés de Luis Mizón: Province perdue (1988) y Marée basse. Suivi de six arbres (2012); y la antología poética de Eduardo Embry Al revés de las cosas que en este mundo fenecen (2010). Postulamos que estas creaciones conforman un tipo alternativo de escritura desde y sobre el exilio chileno, que a diferencia de las escrituras “canónicas” de este período, su interés no radica en articular un testimonio de denuncia de lo acontecido durante la dictadura militar de Pinochet, ni tampoco construir un imaginario representativo de la identidad nacional en quiebre a causa de este evento. Estos discursos evocan nostálgicamente el lugar provinciano de origen y un pasado feliz (anterior al exilio), expresando la reinvención subjetiva de la experiencia del destierro. Entre las diversas problemáticas que emprendemos se encuentran: el tipo de escritura memorial que construyen; la identidad literaria y/o lingüística de los poetas; y sus diferentes niveles de elaboración de la elegía. El análisis comparado nos ha permitido determinar cinco rasgos temáticos recurrentes en las obras, los que definen las categorías que, en su conjunto, conforman la propuesta de la poética del desarraigo: el desplazamiento territorial; el desplazamiento emocional; el extrañamiento y el “entredós”; la metapoética; y la crítica a la modernización, las que trabajamos detenidamente a lo largo de toda esta investigación.

Made available in DSpace on 2016-04-26T18:14:12Z (GMT). No. of bitstreams: 1 Joao Carlos Ruza.pdf: 2382569 bytes, checksum: 703a97d82af1bed192bc582fe6fd1735 (MD5) Previous issue date: 2014-06-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aims to question the conception which deals with photography as a reliable and neutral register of reality. This is not a refuse of the documentary aspect of photography, neither its objective materiality, but rather the acceptance of photography as a image intrinsically ambiguous and polysemic, a codified representation of reality and so accept its symbolic character of object which needs to be deciphered in order to reveal its deepest meaning. For this, we use theoretical basis authors who, somehow, discuss critically the image; among them, Vilém Flusser, Hans Belting, Arlindo Machado and Joan Fontcuberta. Our findings were based on our professional practice that currently most of human measurements are made through images and that this relation not always are significantly satisfactory in a context of excess of images, particularly with regard to the above view which sees the photography as a simple reproduction and not a representation of reality, yet widely present. We think that is necessary a deconstruction of this view and the search of a richer approach related to photographic phenomenon as a whole. We use the proceed called estrangement, initially developed by the group known as Russian Formalists , as a possibility of a frame-braking approach in the relationship subject/image, aiming understand its meanings and practices, using as example its use in the analysis of the work of Mexican photographer Pedro Meyer, particularly his work called Heresias (2008) / Este trabalho tem como objetivo o questionamento da concepção que aborda a fotografia como registro fidedigno e neutro da realidade. Não se trata de negar o aspecto documental da fotografia, nem sua materialidade objetiva, mas antes, do reconhecimento da fotografia como imagem intrinsecamente ambígua e polissêmica, uma representação codificada do real e, portanto, reconhecer também seu caráter simbólico de objeto que implica ser decifrado para que revele seus significados mais profundos. Para tanto, utilizamos como base teórica autores que, de algum modo, abordaram criticamente a imagem; entre eles, Vilém Flusser, Hans Belting, Arlindo Machado e Joan Fontcuberta. Partimos das constatações observadas em nossa prática profissional de que, atualmente, grande parte das mediações humanas são realizadas por intermédio de imagens e de que esta relação nem sempre se mostra significativamente satisfatória em contexto inflacionado de imagens, em particular no que diz respeito à visão acima, que toma a fotografia por simples reprodução e não representação do real, ainda amplamente vigente. Entendemos necessário um desmonte desta visão e a busca por possíveis abordagens mais ricas em relação ao fenômeno fotográfico como um todo. Tomamos o procedimento denominado estranhamento, desenvolvido inicialmente pelo grupo que veio a ser conhecido como Formalistas Russos , como possibilidade de estratégia desautomatizante na relação sujeito/imagem, buscando entender seus significados e práticas, utilizando como exemplo sua aplicação na análise do trabalho do fotógrafo mexicano Pedro Meyer, em particular sua obra denominada Heresias (2008)

Made available in DSpace on 2016-04-26T14:54:50Z (GMT). No. of bitstreams: 1 Paulo Niccoli Ramirez.pdf: 2249391 bytes, checksum: 40d95cdf80f3ac7182e5d6d638eaf700 (MD5) Previous issue date: 2014-06-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The thesis inquire about the estrangement which occurs through the presence of the other never before seen or know, which causes according Lévi-Strauss ethnographic descriptions the called confusing sensations. This phenomenon is in an indeterminacy zone, pre-political stage characterized by a state of exception and suspension of consciousness and eyes, which means that cognition or senses are not voluntarily controlled. It was sought to study authors from the second half of the XIX century, when there was greatest interest by strangers or other people with the expansion of big cities and Neocolonialism. In cities, some authors have described the strangeness of crowds in the metropolis, among them: Poe, Balzac, Proust, Baudelaire, Simmel and Walter Benjamin. Ethnographies produced visits or reports that reflect the appearance of the anthropologist within the society which was studied through field diaries and books that discourse about the stranger s arrival, which might be investigated in the descriptions taken as classical ethnography, including the writings of Boas, Malinowski, Pritchard, Lévi-Strauss and Darcy Ribeiro. To found this study and understand the estrangement s specificity, it was studied how philosophy (with the notion of thauma), psychoanalysis (with the notion of unheimlich) and literature comprise the estrangement s phenomenon. What is supposed is that in ethnography and far from cities there is a tendency to that kind of estrangement produce curiosity of the natives, either through disgust or empathy. In cities there is the impossibility to establish any possible contact or experience, friendly or not, with the strange. The fast pace of the city provides the disappearance of concern for others and their presence becomes insignificant. Concepts borrowed from psychoanalysis, literature, philosophy does not capture the complexity of the condition of estrangement in the big cities we proposed to analyze. The emaltema has emerged as a term for an opening to interpretive possibilities about estrangement that occurs with the stranger s arrival or their presence through the crowds / Essa tese investiga o estranhamento motivado pela presença do outro, o desconhecido que, segundo descrições etnográficas de Lévi-Strauss, suscita sensações confusas. Esse fenômeno situa-se em zona de indeterminação estágio pré-político caracterizado pelo estado de exceção e de suspensão da consciência e dos olhos no qual não há controle sobre a cognição ou sobre os sentidos de modo voluntário. Estudamos autores a partir da segunda metade do século XIX, época em que houve maior interesse por estranhos ou outros povos, decorrente da expansão das grandes cidades e do neocolonialismo. Autores que nas cidades descreveram o estranhamento das multidões nas metrópoles: Poe, Balzac, Proust, Baudelaire, Simmel, Walter Benjamin. Nas etnografias, visitaram ou relataram a presença do antropólogo na sociedade estudada em diários de campos e livros e discorreram sobre a chegada do estranho, como as descrições etnográficas de Boas, Malinowski, Pritchard, Lévi-Strauss, Darcy Ribeiro. Para fundamentar este estudo e compreender a especificidade do estranhamento refletimos sobre como a filosofia (com a noção de thauma), a psicanálise (com a noção de unheimlich) e a literatura compreendem o fenômeno do estranho. Supomos que na etnografia e no meio não urbano existe tendência de o estranhamento despertar a curiosidade dos nativos, por meio de aversão ou de empatia. Já nas cidades há impossibilidade de haver para com o estranho eventual contato ou experiência, amistosa ou não. O ritmo veloz da cidade proporciona o desaparecimento do interesse pelo outro e sua presença torna-se insignificante. Conceitos emprestados da psicanálise, literatura, filosofia não apreendem a complexidade da condição do estranhamento nas grandes cidades que propusemos analisar. A emaltema surgiu como termo de abertura a possibilidades interpretativas sobre o estranhamento que ocorre com a chegada do estranho ou a sua presença em meio às multidões

This paper proposes a new ideation technique for how to ideate using sketching and a generative design system based prototype tool. The technique is aimed to support ideation through the exploration of design shape deviations. The tool generates 3D model artifacts with variations in their shapes. The overall shape and deviations are based on a design concept specified by the user of the tool. These design artifacts are then used as a means to rediscover one's own design concepts through the theory of estrangement. A study was conducted where university-level design students tested the technique in a scenario where they were tasked with ideating product design solutions. The performed study (along with post-study interviews) revealed promising results where participants of the study described their experiences as fun and interesting. The design outcomes of the study display how participants worked and iterated on their conceptual artifacts. They explored different and new angles of the design space relative to their concepts by using the generated design artifacts. This may suggest that this technique, using computer-generated concept deviations can be a successful way of supporting ideation by expanding on one's design concepts, rediscovering concepts, moving beyond obvious solutions and iterating design concepts.

This thesis deals with questions of Marx’s concept of alienation in regards to the semi-aware state of it in contemporary society. In the fashion industry, one of the most globalised businesses, the supply chains are getting larger, tasks are being outsourced and labour is divided on several dozens of workers involved, relationships are socially and geographically dispersed. Hence, companies establish departments for Corporate Social Responsibility (CSR) and by this “cleaning” the supply chain according to international laws and conventions. Division of labour fragments the supply chains and third parties are in charge to audit and inspect factory sites, reporting the findings to the company’s CSR manager and by this increasing transparency and authenticity. Meanwhile being unaware of the fact that alienation happens in a definitive state in the fashion industry, companies counteract not only by communication their endeavour which CSR is executing but also by publishing CSR agendas and policies online. This phenomenon is demonstrated on two Swedish fashion brands, Filippa K and Cheap Monday. After all, I argue, Marx might be challenged in various points of his theory, however, he appears not being completely wrong when it comes to alienation. Further, I claim, that the old-fashioned (and forgotten?) theory of alienation ought to be revived for the understanding of issues on the production side, branding narratives and storytelling marketing strategies as well as end-consumers increasing awareness and education in such realms.