Esta pesquisa trata de reconhecer e localizar na obra do escritor francês Georges Perec (1936-1982) o que instiga uma produção significativa ligada à Arte Contemporânea por meio do diálogo com três artistas: Arman, Joe Brainard e Édouard Levé. A parte da sua obra que interessa à pesquisa é aquela fixada no real, no espaço, nos lugares, nos rituais e procedimentos repetitivos, no cotidiano e nas coisas materiais que constroem um mundo de desimportâncias um mundo comum que serve de pano de fundo às ações diárias do banal urbano. A pesquisa está dividida em três capítulos, cada um deles centrado numa maneira particular de agrupar as coisas: no primeiro, dedicado à acumulação, procura-se diferenciar a coisa do objeto e identificar como os valores da sociedade de consumo se apresentam nas obras de Perec e de Arman; no segundo, dedicado à coleção, o interesse são as coisas comuns, o cotidiano indistinto, e a formulação de regras que ajudam Perec e Joe Brainard a compor um sentido para seus fragmentos de lembranças; já no terceiro e último capítulo, é o arquivo que guarda documentos, resultado de projetos de seus criadores, que vai permitir a Perec e a Édouard Levé encararem seus não-lugares para revelar o que acontece quando não acontece nada. / This research aims at recognizing and locating, in the work of the French writer Georges Perec (1936-1982), some of the elements of his production that can be seen as significantly linked to Contemporary Art. This process of recognizing and location will be take shape through the dialogue with three artists: Arman, Joe Brainard and Édouard Levé. The part of Perecs work that interests this research is the one grounded in reality, in the urban space, in places, rituals and repetitive procedures, in everyday life and in material things that make up a world of irrelevance - a common world that serves as background to the daily actions we see in ordinary urban life. This research is divided into three chapters, each one of them focusing on a particular way of grouping things: the first one which is dedicated to the accumulation, tries to differentiate the concept of thing from the notion of object and identify how the values of consumer society appear in the works of Perec and Arman; the second chapter, which is dedicated to the collection focuses on shared things, on the indistinctive aspect of everyday life, and on the formulation of rules that help Perec and Joe Brainard make sense of the fragments of their memories; now, in the third and final chapter, it is the file (which results from the artists projects) that will allow Perec and Édouard Levé to envisage their non-places to reveal what happens when nothing happens.

Tel qu’il a été formulé par Georges Bataille dans Documents, dans les premières décennies du XXe siècle, l’informe s’est avéré être un puissant moteur de réflexion. Il a fait naître des œuvres qui disent s’en inspirer, et motivé un âpre débat théorique sur le véritable sens à lui donner. Qu’est-ce que l’informe, en effet ? Cette catégorie complexe et paradoxale s’avère très fructueuse dans l’analyse des œuvres théoriques, plastiques et littéraires de la Renaissance qui s’intéressent à la naissance des formes. L’utilisation d’une notion anachronique permet de réunir dans un même ensemble les préoccupations concernant les origines de l’œuvre d’art, celles sur la bonne composition, ainsi que celles concernant la Matière et l’Être. Ce travail dégage ainsi ce qui serait une poétique de la forme en devenir, poétique se réclamant de la philosophie néo-aristotélicienne de l’époque mais opérant un élargissement d’horizons et une refonte conceptuelle très éloignés de la pensée antique. / From the early XXth century the Formless, as defined by Georges Bataille in Documents, has revealed itself to be a powerful tool for reflection. It has inspired art works and triggered an ongoing debate about its true meaning, for what is the formless exactly? In search for its essence, this category has proven to be of great value when analyzing theoretical, artistic and literary Renaissance works dealing with the birth of form. The anachronic notion of Formless permits an intertwining of questions regarding the origins of the piece of art, good composition, matter and being. Through this essay we will discuss the poetics of art in the making, so-called (neo)Aristotelian in the XVIth century – poetics in a constant and fluid definition of the Aristotelian meaning enlarged by non-Aristotelian concepts, and categories distant to those attributed to it in classical times.

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Thesis (Ph. D.)--Joint Program in Oceanography/Applied Ocean Science and Engineering (Massachusetts Institute of Technology, Dept. of Biology; and the Woods Hole Oceanographic Institution), 2011. / Cataloged from PDF version of thesis. / Includes bibliographical references. / The ultimate goal of early life studies of fish over the past century has been to better understand recruitment variability. Recruitment is the single most important natural event controlling year-class strength and biomass in fish populations. As evident in Georges Bank haddock, Melanogrammus aeglefinus, there is a strong relationship between recruitment success and processes occurring during the planktonic larval stage. Spatially explicit coupled biological-physical individual-based models are ideal for studying the processes of feeding, growth, and predation during the larval stage. This thesis sought new insights into the mechanisms controlling the recruitment process in fish populations by using recent advances in biological-physical modeling methods together with laboratory and field data sets. Interactions between feeding, metabolism and growth, vertical behavior, advection, predation, and the oceanic environment of larval haddock were quantitatively investigated using individual-based models. A mechanistic feeding model illustrated that species-specific behavioral characteristics of copepod prey are critically important in determining food availability to the haddock larvae. Experiments conducted with a one-dimensional vertical behavior model suggested that larval haddock should focus on avoiding visual predation when they are small and vulnerable and food is readily available. Coupled hydrodynamics, concentration-based copepod species, and individual-based larval haddock models demonstrated that the increased egg hatching rates and lower predation rates on larvae in 1998 contributed to its larger year-class. Additionally, results from these coupled models imply that losses to predation may be responsible for interannual variability in recruitment and larval survival. The findings of this thesis can be used to better manage the haddock population on Georges Bank by providing insights into how changes in the physical and biological environment of haddock affect their survival and recruitment, and more generally about the processes significant for larval fish survival. / by Colleen Mary Petrik. / Ph.D.

Les activités anthropiques (agriculture, urbanisation) ont fortement influencé la dynamique des tourbières depuis le début du XXe siècle dans la région physiographique des basses-terres du Saint- Laurent. En Montérégie, la vaste tourbière de Saint-Georges-de-Clarenceville est caractérisée par la présence de différents types de peuplements forestiers, notamment des peuplements feuillus dominés par l’érable rouge qui côtoient des peuplements conifériens, certains comportant du pin blanc. Ce projet avait pour objectifs 1) de dresser un portrait des peuplements forestiers de la tourbière pour les 100 à 200 dernières années, 2) de retracer leur dynamique à plus long terme, soit sur quelques millénaires et 3) de déterminer si l’établissement et la dynamique de la végétation forestière est d’origine anthropique ou naturelle. L’hypothèse qui a été testée est que la tourbière était autrefois colonisée naturellement par des peuplements forestiers à dominance coniférienne « typiques » des tourbières comme le mélèze laricin et l'épinette noire. En raison de perturbations anthropiques in situ, telles que la coupe forestière et le creusement de canaux de drainage, ces espèces auraient été graduellement remplacées par des peuplements arborescents à dominance feuillue et par des conifères « moins fréquents » dans de tels écosystèmes comme le pin blanc. Dans le but de documenter les différents peuplements forestiers, un portrait de la végétation arborescente fut réalisé le long d’un transect d’une longueur de 1 km. Pour six peuplements, des analyses dendrochronologiques ont été effectuées afin de dater les périodes d’établissement des arbres. Des profils de sol ont été creusés au sein de deux de ces sites afin de récolter, d’identifier et de dater des bois enfouis dans la tourbe. Plusieurs souches furent aussi échantillonnées et identifiées. Les résultats suggèrent que la présence du mélèze laricin, de l’épinette noire, du thuya occidental et du pin blanc sur la tourbière est naturelle et très ancienne (quelques milliers d’années). L’analyse des bois enfouis et des souches indique que le pin blanc est présent depuis au moins 3000 ans. En contrepartie, le développement en grande abondance d’espèces feuillues comme l’érable rouge et le bouleau jaune est plus récent et concorde, entre autres, avec des coupes forestières ayant lieu depuis de la seconde moitié du XIXe siècle par les différents propriétaires des lots de la tourbière. Ces perturbations auraient ainsi changé la dynamique forestière naturelle coniférienne vers des peuplements de plus en plus dominés par des espèces feuillues. L’érable rouge est présentement l’espèce la plus abondante au sein de la régénération et devrait éventuellement devenir l’espèce dominante.

Propomos uma investigação simultaneamente histórica e epistemológica dos trabalhos de Georges Canguilhem, buscando alargar e aprofundar nossa compreensão dos critérios que determinam tanto a escolha dos objetos, quanto os métodos de investigação e regras para a escrita da história das ciências. Essa investigação é reforçada por uma reconstrução dos debates intelectuais nos quais Canguilhem esteve envolvido ao longo da sua carreira acadêmica, debates que conduziram a verdadeiras reviravoltas na elaboração do seu pensamento. Assim, essa pesquisa trata da formação acidentada de um pensamento e de uma obra preocupada com a elaboração de uma teoria da História das Ciências a partir da superação da falsa dicotomia entre internalismo e externalismo. / We propose a simultaneously historical and epistemological exploration of Georges Canguilhems work, seeking to broaden and deepen our understanding of the criteria that determine both how objects of study are chosen, and how the investigative methods and rules for writing the history of the sciences are defined. This exploration is further supported by a reconstruction of the intellectual debates in which Canguilhem became involved over the course of his academic career, leading to various twists and turns in his thought. Hence the project involves an inquiry into the eventful formation of a body of thought of key importance to the general theory of the History of Science, seeking to move beyond the dichotomy between internalism and externalism.

Il s’agit d’étudier l’inscription en politique de l’ancien résistant et déporté Edmond Michelet (1899-1970) accédant à la carrière politique sous la Quatrième et la Cinquième République. Passant du gaullisme de guerre au gaullisme d’opposition puis au gaullisme politique dès le retour aux affaires de l’Etat du général de Gaulle en 1958, E. Michelet traduit son engagement en lien étroit avec la figure tutélaire du chef libérateur de la France. C’est donc en posant le degré de filiation, de pratiques et de mise en réseaux d’Edmond Michelet avec Charles de Gaulle, ses collaborateurs et ses détracteurs au sommet du pouvoir comme à la base de l’appareil militant, que se pose l’intérêt de notre étude. On insistera dans cette étude sur l’importance des trajectoires culturelles et idéologiques opérantes au sein des appareils politiques et dans l’environnement des gaullistes de De Gaulle à G. Pompidou. C’est l’occasion d’interroger enfin le style politique d’E.Michelet et le degré d’imprégnation des moments clés de son existence (les militances catholiques sociales de l’entre-deux-guerres ; la Résistance ; la déportation) adaptés à l’exercice original de ses activités politiques (militant et dirigeant de parti ; parlementaire ; membre de gouvernement, etc.). / It is a question of studying the registration in politics of the former Resistance fighter and the transported convict Edmond Michelet (1899-1970) reaching in the political career under the Fourth and the Fifth Republic. Passer-by of the war Gaullism in the Gaullism of opposition then the political Gaullism from the return to the affairs of the State of the general de Gaulle in 1958, Michelet translates its commitment in the service of the Gaullism into narrow link with the guardian face of the leader liberator of France. Thus while putting the degree of filiation, practices and putting in Edmond Michelet's networks with Charles de Gaulle, his associates and his detractors at the top of the power as on the basis of the militant device, arises the interest of our study. This study will emphasize the importance of operational trajectories within political apparatuses and in the Gaullist environment from De Gaulle to G. Pompidou. This is the opportunity to finally question the political style of E. Michelet and the degree of impregnation of the key moments of his life (the Catholic social militants of the inter-war period, the Resistance, the deportation) adapted to the exercise of his political activities (militant and party leader; member of government, etc.).

Esta pesquisa visa o estabelecimento de pontos de contato entre dois escritores franceses do século XX, André Gide e Georges Perec, por meio do estudo de duas obras, Les Faux-monnayeurs e «53 Jours». Nosso objetivo é o de analisar como o último livro de Perec, inserido com toda sua obra no pós-modernismo, reaproveita e lança um olhar crítico sobre alguns elementos da poética gideana concentrados em seu único romance, tais como o papel do leitor e o questionamento da noção de verdade. / The purpose of this research is establishing some points in common between two 20th century\' s French writers, André Gide and Georges Perec, through the study of two of their books, Les Faux-monnayeurs and «53 Jours». We want to analyze how the last Perec\'s work, part of the post modernism aesthetics, uses and thinks critically about some Gide\'s writing elements, all concentrated in the only Gidean novel, like the reader\'s role or the discussion concerning the idea of truth.

Tudo inicia com o verbete de um dicionário não convencional. A revista Documents, na qual se publicava o Dictionnaire Critique, era editada pelo escritor francês Georges Bataille quando ele escreveu sobre o informe: um termo que \"serve para desclassificar\"; um vocábulo que não existe para dar significado a determinadas coisas, mas para instigar \"tarefas\"; uma noção antagônica a toda \"sobrecasaca matemática\"; uma disrupção ao academicismo \"que geralmente demanda que cada coisa tenha sua forma\". Esta dissertação fundamenta-se na acepção batailliana, destrinchando nuances, revisitando múltiplas leituras feitas a posteriori, buscando compreender o verbete em meio a todo conjunto do Dicionário Crítico, e, por fim, aceitando a diversidade e as contradições da rede de relações que Bataille instituía. Alicerçado nesse verbete acerca do informe, estabeleço uma operação crítica de observação do mundo, a qual irradia uma série de questões para além daquelas enfrentadas à época pelo grupo surrealista da Documents. Informes, no plural, apresenta um campo de diálogo entre trabalhos artísticos, projetos arquitetônicos, obras literárias. A crise do ideal de forma não é unívoca. O informe lança uma ilimitada multiplicidade de questões; nesta dissertação, apresentam-se algumas delas em um labirinto que põe em contato o Partially Buried Woodshed de Robert Smithson, o Tent Pile do Formlessfinder, a Endless House de Frederick Kiesler, o apartamento de A Espuma dos Dias, o Gutter Corner Splash e as espirais de Richard Serra, a crise da arte como ciência europeia por Edmund Husserl, os Sacchi de Alberto Burri, o vão livre do Masp e o pré-artesanato nordestino pela ótica de Lina Bo Bardi, a Torsione de Giovanni Anselmo somada a tantos outros trabalhos da dita Arte Povera, o Monumento a Bataille de Thomas Hirschhorn, o Merzbau de Kurt Schwitters, o Vortex do Raumlabor, o empilhar de telhas de Wang Shu, a entropia que se ausenta em O ateliê vermelho de Henri Matisse, o estúdio de Rémy Zaugg projetado pelo Herzog & de Meuron, a Mesa de Nelson Felix, o Fun Palace de Cedric Price, o Granby Four Streets do Assemble, os inacabados prisioneiros de Michelangelo. Essa polifonia consubstancia-se nos dezenove ensaios que se seguem. Tal como uma entrada de dicionário, cada texto é autossuficiente; entretanto, suas questões ricocheteiam ao longo da dissertação. Inspirado no Dictionnaire Critique e no livro Formless: A User\'s Guide, de Yve-Alain Bois e Rosalind Krauss, faço um emaranhado de heterogêneas rela- ções a partir de diferentes autores, artistas, arquitetos. Não há uma mesma unidade nem métrica para os ensaios: as estruturas textuais são diversas, os tamanhos são distintos, e sua leitura também não se faz exigente em ordem sequencial.. Há uma metalinguagem entre o informe e o (não)formato deste Informes. O que se intenta é o enfrentamento às convenções, ao status quo, ao senso comum. Uma busca deste mestrando para não ver o mundo como conjunto de formas, as quais obrigatoriamente devamos nos enquadrar. Afinal, já dizia Bataille, \"o universo é algo como uma aranha ou um escarro\". / Everything begins with an entry of an unconventional dictionary. The magazine Documents, in which the Dictionnaire Critique was published, was edited by the French writer Georges Bataille when he wrote about the formless: a term that \"serves to bring things down\"; a word that does not exist to give meaning to certain things, but to instigate \"tasks\"; an antagonistic notion to any \"mathematical frock coat\"; a disruption to academicism that \"generally requiring that each thing have its form\". This dissertation is based on the bataillian sense of the formless, unraveling nuances, revisiting multiple readings made a posteriori, seeking to understand the entry in the midst of all set the Critical Dictionary, and, finally, accepting diversity and contradictions of the network of relationships that Bataille instituted. From this entry on the formless, I establish a critical operation for observing the world, which radiates a number of issues beyond those that the Surrealist group faced at the time of Documents magazine. Formlesses, in plural, present a field of dialogue between artistic works, architectural projects, literary writings. The crisis of the ideal of form is not univocal. Formless launches unlimited and multiple questions, which, on this dissertation, present themselves in a labyrinth that put in contact the Partially Buried Woodshed by Robert Smithson, the Tent Pile by Formlessfinder, the Endless House by Frederick Kiesler, the apartment of L\'Écume des Jours, the Gutter Corner Splash and the spirals by Richard Serra, the crisis of art as a European science by Edmund Husserl, the Sacchi by Alberto Burri, the great span of Masp and the northeastern pre-crafts from the perspective of Lina Bo Bardi, the Torsione by Giovanni Anselmo together with many other of the Arte Povera, the Monument to Bataille by Thomas Hirschhorn, the Merzbau by Kurt Schwitters, the Vortex by Raumlabor, the stacking of tiles of Wang Shu, the absence of entropy in The Red Studio by Henri Matisse, the atelier of Rémy Zaugg designed by Herzog & de Meuron, the Mesa by Nelson Felix, the Fun Palace by Cedric Price, the Granby Four Streets by Assemble, the unfinished prisoners of Michelangelo. This polyphony is embodied on the following nineteen essays. Like a dictionary entry, each text is self-sufficient; however, their issues ricochet throughout the dissertation. Inspired by the Dictionnaire Critique and the book Formless: A User\'s Guide, of Yve-Alain Bois and Rosalind Krauss, I make a tangle of heterogeneous relationships from different authors, artists, architects. There is neither unity nor metric on the essays: the textual structures are diverse, their sizes are different, and it is not necessary to read them in a sequential order. There is a metalanguage between the formless and the (non)format of this Formlesses. What I attempt is to confront the conventions, the status quo, the common sense. A search of this graduate student for not to see the world as a set of forms, in which we must necessarily fit in. After all, as Bataille had already said, \"the universe is something like a spider or spit\".

Análise das revistas de cultura Critique e Les Temps Modernes por meio das resenhas sobre Henry Miller e Charles Baudelaire. A dissertação comenta o surgimento das publicações e suas influências (a poética de Georges Bataille e a filosofia de Jean-Paul Sartre). Apresenta o campo intelectual das revistas e editoras no pós-guerra francês (1945-46). Sugere uma reflexão e um vocabulário para definir este novo crítico, um leitor especializado que, pelo ato da escrita, desenvolve a crítica. Também comenta a resenha como gênero, e as referências estruturalistas e sartrianas em ambas publicações. / Analysis of French culture magazines Critique and Les Temps Modernes, through the reviews on the authors Henry Miller and Charles Baudelaire. The text comments the appearance of the publications and its influences (Georges Batailles`s poetics and Jean-Paul Sartre`s philosophy). It presents the intellectual field of the magazines and publishing houses in the French post-war period (1945-46). It suggests a thought and a vocabulary in order to define the new critic character, a specialized reader that writes and produces critic. Finally, comments the genre review and Structuralism and Sartrian references on both magazines.