This research brings the thought of Emmanuel Levinas into play in attempting to understand the responsibility of a group of educators of Aboriginal and non-Aboriginal heritage working amidst the tensions of ethno-cultural difference in an inner city public high school in Western Canada. The concept of ‘welcoming’, that is born in the words of Levinas, and that I further fashion into an interpretation framework while relying on the writings of Jacque Derrida and Sharon Todd, is employed in articulating this research. The research involves exploring: if, how and to what extent the responsibility of these educators might be understood as a welcoming of the Other and; if, how and to what extent the notion of welcoming itself, and particularly the thought of Levinas, might be potentially helpful in understanding the responsibility of educators? This study articulates a philosophical hermeneutic that is an interpretation of participants’ stories developed through a close examination of Levinas’ philosophy aided by insight from Derrida, Todd and other writers. This research articulates how educators revise and reenact their responsibility wherein their success and that of their students involves the establishment of a non-coercive relationship educators believe is fundamental and crucial to any other form of success their schooling context. This study offers examples and insight concerning how educators are interrupted by the difference of others; how educators realize their vulnerability to others and respond to others where their relationships with others change from merely being-with others to a “being-for” the Other; how educators negotiate the difficult tension of being an hôte or a guest in one’s own situation and; how educators receive the gift of learning from the Other or learn what their responsibility demands of them as they seek to serve others in amidst ethno-cultural difference. This research is helpful in offering an alternate way to approach how educators’ understand and enact their responsibility amidst ethno-cultural difference and does this by offering an atypical consideration of what is ethical, where responsibility is reconceived as a welcoming of the Other. In this pursuit insight is offered into the helpfulness and use of Levinas’ philosophy with the suggestion that his writings remain challenging to decipher as well to apply, offering few if any specific guides for action. Despite this, I suggest that Levinas’ philosophy when refashioned as welcoming, relying on scholars such as Derrida and Todd, can be helpful in prompting us as educators to think differently about our responsibility and therefore to perhaps act differently. In this capacity this study is potentially helpful to educators in assuring them that what is ethical is not necessarily defined within the confines of convention, legal codes and rules nor is what is ethical solely determined within such confines, but rather in our attentiveness to others and our attentiveness to our attentiveness, where we realize the welcoming nature of responsibility and what is actually demanded of us in being responsible to the Other.

This paper describes my research project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the dou ble nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early 20th century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use.

The content of the thesis is the surrealistic object and its reflection among the czech theorists. The first part of the thesis describes the problematic of surrealistic object and subject-objective relations in surrealism. Breton's philosophical approach is introduced, as well as his concept of object's crisis. The first part also outlines the meaning of found object, concept of convulsive beauty and Dali's paranoic-critical method as a source of surrealistic imagery. The second part of the thesis is focused on the reflection of surrealistic object presentation and on relations between arts and reality according to the concepts of Jan Mukařovský. The third part of the thesis is dedicated to conceptualization of aesthetics of Bohuslav Brouk in the light of surrealism. In this part the scope of Brouk's understanding of subject-objective relations is briefly described, as well his interpretation of surrealistic object.The last part of the thesis outlines the Teige's conception of surrealistic work in the terms of the sources of surrealistic imagination.

L’irrelevant process, décrit par George Brecht en quelques lignes au sein de son texte Chance-Imagery(1957), est une méthode de création d’ « images du hasard », proche de l’idée de « non-intentionnalité ».Cette thèse analyse cette description et en étudie les enjeux dans le cadre de la création de dessins et depeintures, au travers de l’idée de « machine à dessiner » et de celle d’« image trouvée ». L’étude dequelques démarches artistiques issues de la seconde moitié du XXème siècle et exemplifiant cette typologienous amène à considérer que l’irrelevant process consiste notamment en l’adoption d’une perspectiveintentionnelle et esthétique sur des processus et des traces « non-pertinents » avec la créationd’images. / The “irrelevant process”, briefly described by George Brecht in Chance-Imagery (1957), is a method forcreating “chance-images”, close to the idea of ”non-intentionality”. Our thesis analyses this description andstudies its issues for the creation of paintings and drawings, through the ideas of « drawing machine » and« found image ». The study of some artistic practices which illustrate this typology brings us to think thatthe irrelevant process involves the adoption of an intentional and aesthetic point of view on processes andtraces which are irrelevant with the creation of images.

The aim of the thesis was to explore current approaches used for valuation according to the valuation regulation. The next aim was to choose appropriate method for finding usual price and compare it with the price assessed determined by administrative methods according to Valuation Decree. Comperative method was the chosen method. There are six forest properties from The Czech Republic evaluated in the practical part of the study. The conclusion of the thesis summarizes detected information from the area of valuation of forest.

The aim of thesis was to explore current approaches using for valuation trees on non – forest lands. Another aim was compare usual price and price assessed determined accordin to Valuation Decree. Methodics used for valution trees was valuation according to the valution regulation, Koch´s methodic and Methodic for valution tress growing out of forest.Market price wasfound out as a research at specialized subjects (trees numery, garden – tillages etc.) In practical part was evaluace price found of three pine trees and three leafy trees in three age phases. Discovered informations are commented and summarazied in final chapter.

Entre les archives, telles que définies par l’archivistique, et l’archive comme concept, tel qu’utilisé en dehors de la discipline, il existe un écart sémantique, conceptuel et théorique. D’un côté, les archives représentent des rassemblements documentaires issus des activités d’une personne ou d’un organisme ; de l’autre, il est question d’un outil conceptuel permettant d’exprimer une variété d’idées liées à l’histoire ou à la mémoire. Toutefois, cet intervalle entre archives et archive est particulièrement fertile. C’est dans cet espace que les utilisateurs non traditionnels des archives, comme les cinéastes de réemploi (dont les œuvres sont constituées d’images en mouvement préexistantes), trouvent leur inspiration. À travers leurs mises en récit, ces derniers montrent ce qui n’est pas visible dans les archives. De la décomposition des matières filmiques, aux dynamiques de pouvoir derrière le geste d’archivage et leurs récits tacites, en passant par les émotions et l’affect véhiculés par les documents, les œuvres nous confrontent à une double dimension inarchivée (ce qui n’est pas archivé) et inarchivable (ce qui ne peut pas être archivé), qui est constitutive de ce que sont les archives et de comment elles se construisent. En étudiant les archives qui constituent les œuvres de réemploi à partir de leur exploitation, c’est-à-dire leurs diverses utilisations et l’ensemble de leurs utilisations potentielles, il est possible de catégoriser ce qui se trouve dans l’inarchivé et l’inarchivable. Ainsi, trois principales modalités émergent des analyses : l’absence, qui relève de la lacune, du fragment et de l’incomplétude ; l’interdit qui se manifeste dans les archives comme traces matérielles ; et l’invisible qui participe de ce qui ne se montre pas. Ces trois catégories relèvent d’un impensé archivistique, c’est-à-dire d’un état de la discipline qui reflète l’inconcevabilité ou l’omission, volontaire ou non, de certains de ses aspects théoriques ou pratiques. C’est en investissant l’impensé, en étudiant l’archivistique à partir des pratiques en marges, qu’il est possible renouveler les discours sur la discipline. / Between archives, as defined by archival science, and the archive as a concept used outside of the discipline, there is a semantic, conceptual and theoretical gap. On one side archives represent the documentary by-product of human activity retained for their long-term value. On the other the archive has become a conceptual and critical tool to address a variety of ideas linked to memory and history. However, this interval between archives and archive is particularly fertile. In this space, nontraditional archives users, such as found footage filmmakers (whose works consist in reusing pre-existing footage) find inspiration. Through the narratives of their work, they show what is not always visible in archives. From the decomposition of film stock to the power dynamics behind archiving and its tacit narratives, through emotions and affect conveyed by records, the artworks confront us with a double unarchived and unarchivable dimension (what is not archived and what cannot be archived), constituent of how archives are created. Studying the archives that are part of found footage works through their usage (exploitation), namely their uses and potentials uses, it is possible to categorize the composition of the unarchived and the unarchivable. Three main divisions emerge from this analysis: the absence, linked to gaps, fragments and incompleteness; the forbidden that manifests in archives as material traces; the invisible that takes part in what is not shown. These three categories have to do with an unconceived (impensé): a state of the archival field reflecting the intentional or unintentional inconceivability or omission of some of its theoretical or practical aspects. In investing in the unconceived, in other words studying archival science from practices on the margins, it is possible to renew ideas and discourses inside the discipline.

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Mémoire en recherche-création. / À partir d’archives diffusées sur YouTube, ce mémoire s’intéresse à la catastrophe naturelle du Verglas de 1998. Les vidéos sont l’occasion d’une réflexion sur l’esthétique des images d’information journalistique de catastrophes naturelles, sur le support VHS qui a permis leur premier enregistrement (la création d’une mémoire), et sur la télévision, médium qui les a d’abord diffusées. Conjointement à l’analyse de ces images est exposée la démarche de leur réemploi qui a mené à la réalisation d’un essai filmique. Le réemploi s’est notamment effectué en altérant des archives avec des magnétoscopes, fruits de la technologie de l’époque, qui avaient permis d’enregistrer les images télévisées. Avec ce geste de réemploi sont apparues des perspectives esthétiques qui permettent de voir la catastrophe autrement. D’autre part, ce projet a conduit l’auteur, muni d’une caméra VHS, à aller sur les lieux de l’événement, filmer les pylônes reconstruits, mais aussi au-delà, à la Baie James. Ce travail de recherche-création procède d’une méthode non systématique mais qui suit des chemins ouverts par les archives, par les technologies rencontrées ou par les images créées. Il envisage la question fondamentale que posent les catastrophes naturelles : celle du rapport qu’entretient l’homme avec la nature. / From archives released on YouTube, this thesis aims to explore the natural disaster of Ice Storm of 1998. The videos offer an opportunity to reflect on the aesthetic images of journalistic information on natural disasters, but also on the VHS medium that allowed their first recording (the creation of a memory), as well as on television, the medium that first distributed them. Alongside the analysis of these images, this thesis presents the process for reusing them, which led to the production of a film essay. Archives were altered thanks to video recorders, the technological advancement of the time, which allowed the recording of televised images. With reuse, came aesthetic perspectives that allow us to see the disaster differently. On the other hand, this project led the author, equipped with a VHS camera, to go to the scene of the event, to film the reconstructed pylons, but also to go beyond, to James Bay. This research-creation work was developed through a non-systematic method, rather following the paths opened up by the archives, technologies encountered or images created. It considers the fundamental question posed by natural disasters : that of the relationship between man and nature.