Esta tese investiga as relações entre cidade e subjetividade no contexto do bio-capitalismo cognitivo. Parte de quatro figuras subjetivas da crise econômica-antropológica (o endividado, o mediatizado, o securitizado e o representado), apontadas por Antonio Negri e Michael Hardt. A partir delas, fabula o tipo psicossocial do velocizado, figura transversal a todas as outras, elaborada junto a esta pesquisa para melhor mostrar o problema das dinâmicas urbanas e da circulação acelerada no mundo contemporâneo. Utiliza-se do método da dramatização deleuziana como estratégia de enfrentamento da velocização molar, buscando construir perspectivas criativas aos modos de subjetivação contemporâneo na cidade. Entende-se, aqui, a cidade como uma mega-máquina onde coabitam ritmos e movimentos de controle, processos de normalização e distopias catastrofistas, e, ao mesmo tempo, dispersão de práticas de resistências, de fuga das segmentações do poder e de heterotopias desativadoras das axiomáticas do capital. Desativações selvagens, bárbaras e alter-civilizadas são mobilizadas para produzir, em plena fábrica do capitalismo pós-fordista (a cidade) disrupções no comando e outras formas de circulação da subjetividade. Máquinas primitivas, despóticas e cínicas são apresentadas para exercitar heterotopias pedestres de esgotamento do olhar, de miniaturizações portáteis, de reaprendizados para pisotear o mundo, de perseguições de epifanias fugazes. Enigmas do caminhar forjadoras de outras andaduras aceleracionistas. / This thesis investigates the relationship between city and subjectivity in the context of bio-cognitive capitalism. From four subjective figures of the crisis economic-anthropological (the debt, the mediated, the securitized, and the represented), pointed out by Antonio Negri and Michael Hardt. It is analyzed from them the psychosocial type of the individual who experiences a high speed lifestyle, cross figure to all the others, drawn from this research to better show the problem of urban dynamics and accelerated movement in the contemporary world. The method of dramatization of Deleuze as a coping strategy molar speed, seeking to build creative perspectives to contemporary modes of subjectivity in the city. Understanding the city as a mega-machine where cohabit rhythms and movements of control, standardization processes and catastrophic dystopias, and at the same time, dispersion of resistance practices, avoidance of segmentations of power, and deactivating heterotopias of axiomatic of capital. Wild deactivations, barbarous and alter- civilized mobilized to produce in full factory post-Fordist capitalism (the city), disruptions in charge and other forms of subjectivity circulation. Primitive, despotic and cynical machines appear to exercise pedestrians heterotopias of exhaustion view, portable miniaturization of relearning to stomp the world, of epiphanies fleeting persecution. Enigmas of walking forger of other accelerationist gaits.

Esta tese investiga as relações entre cidade e subjetividade no contexto do bio-capitalismo cognitivo. Parte de quatro figuras subjetivas da crise econômica-antropológica (o endividado, o mediatizado, o securitizado e o representado), apontadas por Antonio Negri e Michael Hardt. A partir delas, fabula o tipo psicossocial do velocizado, figura transversal a todas as outras, elaborada junto a esta pesquisa para melhor mostrar o problema das dinâmicas urbanas e da circulação acelerada no mundo contemporâneo. Utiliza-se do método da dramatização deleuziana como estratégia de enfrentamento da velocização molar, buscando construir perspectivas criativas aos modos de subjetivação contemporâneo na cidade. Entende-se, aqui, a cidade como uma mega-máquina onde coabitam ritmos e movimentos de controle, processos de normalização e distopias catastrofistas, e, ao mesmo tempo, dispersão de práticas de resistências, de fuga das segmentações do poder e de heterotopias desativadoras das axiomáticas do capital. Desativações selvagens, bárbaras e alter-civilizadas são mobilizadas para produzir, em plena fábrica do capitalismo pós-fordista (a cidade) disrupções no comando e outras formas de circulação da subjetividade. Máquinas primitivas, despóticas e cínicas são apresentadas para exercitar heterotopias pedestres de esgotamento do olhar, de miniaturizações portáteis, de reaprendizados para pisotear o mundo, de perseguições de epifanias fugazes. Enigmas do caminhar forjadoras de outras andaduras aceleracionistas. / This thesis investigates the relationship between city and subjectivity in the context of bio-cognitive capitalism. From four subjective figures of the crisis economic-anthropological (the debt, the mediated, the securitized, and the represented), pointed out by Antonio Negri and Michael Hardt. It is analyzed from them the psychosocial type of the individual who experiences a high speed lifestyle, cross figure to all the others, drawn from this research to better show the problem of urban dynamics and accelerated movement in the contemporary world. The method of dramatization of Deleuze as a coping strategy molar speed, seeking to build creative perspectives to contemporary modes of subjectivity in the city. Understanding the city as a mega-machine where cohabit rhythms and movements of control, standardization processes and catastrophic dystopias, and at the same time, dispersion of resistance practices, avoidance of segmentations of power, and deactivating heterotopias of axiomatic of capital. Wild deactivations, barbarous and alter- civilized mobilized to produce in full factory post-Fordist capitalism (the city), disruptions in charge and other forms of subjectivity circulation. Primitive, despotic and cynical machines appear to exercise pedestrians heterotopias of exhaustion view, portable miniaturization of relearning to stomp the world, of epiphanies fleeting persecution. Enigmas of walking forger of other accelerationist gaits.

Esta tese investiga as relações entre cidade e subjetividade no contexto do bio-capitalismo cognitivo. Parte de quatro figuras subjetivas da crise econômica-antropológica (o endividado, o mediatizado, o securitizado e o representado), apontadas por Antonio Negri e Michael Hardt. A partir delas, fabula o tipo psicossocial do velocizado, figura transversal a todas as outras, elaborada junto a esta pesquisa para melhor mostrar o problema das dinâmicas urbanas e da circulação acelerada no mundo contemporâneo. Utiliza-se do método da dramatização deleuziana como estratégia de enfrentamento da velocização molar, buscando construir perspectivas criativas aos modos de subjetivação contemporâneo na cidade. Entende-se, aqui, a cidade como uma mega-máquina onde coabitam ritmos e movimentos de controle, processos de normalização e distopias catastrofistas, e, ao mesmo tempo, dispersão de práticas de resistências, de fuga das segmentações do poder e de heterotopias desativadoras das axiomáticas do capital. Desativações selvagens, bárbaras e alter-civilizadas são mobilizadas para produzir, em plena fábrica do capitalismo pós-fordista (a cidade) disrupções no comando e outras formas de circulação da subjetividade. Máquinas primitivas, despóticas e cínicas são apresentadas para exercitar heterotopias pedestres de esgotamento do olhar, de miniaturizações portáteis, de reaprendizados para pisotear o mundo, de perseguições de epifanias fugazes. Enigmas do caminhar forjadoras de outras andaduras aceleracionistas. / This thesis investigates the relationship between city and subjectivity in the context of bio-cognitive capitalism. From four subjective figures of the crisis economic-anthropological (the debt, the mediated, the securitized, and the represented), pointed out by Antonio Negri and Michael Hardt. It is analyzed from them the psychosocial type of the individual who experiences a high speed lifestyle, cross figure to all the others, drawn from this research to better show the problem of urban dynamics and accelerated movement in the contemporary world. The method of dramatization of Deleuze as a coping strategy molar speed, seeking to build creative perspectives to contemporary modes of subjectivity in the city. Understanding the city as a mega-machine where cohabit rhythms and movements of control, standardization processes and catastrophic dystopias, and at the same time, dispersion of resistance practices, avoidance of segmentations of power, and deactivating heterotopias of axiomatic of capital. Wild deactivations, barbarous and alter- civilized mobilized to produce in full factory post-Fordist capitalism (the city), disruptions in charge and other forms of subjectivity circulation. Primitive, despotic and cynical machines appear to exercise pedestrians heterotopias of exhaustion view, portable miniaturization of relearning to stomp the world, of epiphanies fleeting persecution. Enigmas of walking forger of other accelerationist gaits.

It moves on the frontiers of the sides it looks from and the media it uses following the vision to assemble miscellaneous knowledge so that a certain truth (or a semblance of a truth) could come to the jigsaw that just has been created. Starting in a context originally coming from another argumentation field (social) and in the subsequent topic (the moment of effect of power), which may not necessarily be explicitly readable, it wants to examine what does it take to activate "the image" to be a (partial) autonomous comment about real spaces, even if translated to fictional or virtual. On the background of this heterotopic matter they want (the images and processes of their creation) also to test themselves, to ask on their own sense, to negate the conceptual difference between static and moving images.

Through an analysis of my adaptation of Shakespeare’s “Troilus and Cressida”, I will deconstruct the artist’s studio within an institution as a paradoxical heterotopic space.

China has achieved extraordinary economic growth since its profound social, political and economic reformation in 1978. Housing and tourism are two manifestations of such growth. However, problems related to the development of housing and tourism have become increasingly severe: environmentally sound rural areas are now the battlefield for the ostensible economic advancement of both sectors; the supposedly beneficial local communities in such areas end up as the sufferers of worsened living conditions; the policymakers, who are self-claimed leaders of the development in benefits of the local communities, are de facto heavily dependent upon the sales of land for tax generation. Under such circumstances, second homes - the intersection between tourism and housing - have emerged as a hot topic for industry participants, researchers and policymakers. The existing body of knowledge, in what is largely Western dominated second homes research, suggests that the key theories, assumptions and conclusions cannot be adapted to explain the development model in China. This is because of China’s unique scale, patterns, and dynamics of economic and socio-political linkages. This research therefore theorises second homes in China based on key space and tourism concepts. This thesis conceptualises second homes on an actual site in China named The Aqua, which is a tourism cluster intentionally constructed around the idea of second homes. The thesis examines the actor groups that are involved in the making of The Aqua, as well as their practice, representation and experience with it. Also, in order to uncover the potential impacts of the Aqua, this research investigates how justice is recognised and practiced between different actor groups. The outcomes of this research include: 1) a new model that visualises the power relations between different actor groups that are involved in the making of the Aqua, 2) a new theory building on Foucault’s heterotopia to help explain why the Aqua was produced as the representation of the imagined Western township, 3) new terms of apotopia and limbotopia as dismissive narratives to unwanted circumstances of tourism place-making, 4) a fresh perspective to examine the potential impacts of second homes through the lens of justice, instead of the traditional dualistic thinking of second homes as the curse or the blessing.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Artes, 2018. / Este texto busca cartografar uma pesquisa acadêmica teórico-prática em artes do corpo e/ou artes performativas, desenvolvida a partir de experimentações de um corpo artista (eu) na cidade. De início, apresento três experiências de minha trajetória artística (de 2010 a 2016), que propõem desorganizações do uso previsto para o corpo nas formas normatizadas pela convenção, nos espaços arquitetônicos urbanos. A primeira experiência consiste no modo de trabalho para o ator (O corpo ator) desenvolvido pelo professor Dr. Aguinaldo Moreira de Souza. A segunda, refere-se a uma experimentação expressiva que realizei na Praça do Relógio em Taguatinga, Distrito Federal, como atividade do trabalho de conclusão da Pós-Graduação em Artes Visuais (EAD/SENAC). A terceira, trata-se de um conjunto de experimentações e criações artísticas que realizei junto a Anti Status Quo Companhia de Dança, dirigida pela coreógrafa Luciana Lara. Depois, reflito sobre a construção de um corpo cênico na cidade, trazendo a noção de corpo desviante; analiso os processos de investigação realizados e as implicações éticas, estéticas e políticas dessas experimentações no cotidiano. Amparado em Michel Foucault, disserto sobre as utopias que compõem a concepção atual de um corpo urbano civilizado e os dispositivos disciplinares que moldaram tal concepção na modernidade ocidental. Comparecem neste estudo também Michel Mafessoli, Gilles Deleuze e Felix Guattari (Filosofia da Diferença) e Judith Butler (Teorias Queer) – que acrescentam para se pensar os atos corporais subversivos e a ação na cidade como forma de questionamento. As abordagens a esses autores se deram, neste estudo, em diálogo com os pensamentos do professor Dr. Paulo Petronílio. Por fim, penso a performance como uma ação provocadora de distopias no corpo e na cidade, e aponto para as experimentações urbanas como heterotopias desviantes. / This text seeks to map a theoretical and practical academic research in body and / or performing arts, developed from experiments of an artist body (I) in the city. At the outset, I present three experiences of my artistic trajectory (from 2010 to 2016), which propose disorganizations of the intended use for the body in the forms normatized by the convention, in the urban architectural spaces. The first experience concerns my relation to the way of working for the actor (The actor body), developed from the investigation of the body in the urban context of postmodernity, elaborated from the coordination of teacher Dr. Aguinaldo Moreira de Souza. The second, refers to an expressive experimentation that I performed at the Praça do Relógio in Taguatinga, Federal District, as an activity of the completion of the Postgraduate Course in Visual Arts (EAD / SENAC). The third, it is a set of experiments and artistic creations that I performed with Anti Status Quo Companhia de Dança, directed by the choreographer Luciana Lara. Then I reflect on the construction of a scenic body in the city, bringing the notion of deviant body; I analyze the research processes carried out and the ethical, aesthetic and political implications of these experiments in everyday life. Supported by Michel Foucault, he spoke about the utopias that make up the current conception of a civilized urban body and the disciplinary devices that shaped such a conception in Western modernity. Also present in this study are Michel Maffesoli, Gilles Deleuze and Felix Guattari (Philosophy of Difference), Judith Butler (Queer Theories) - that add to think subversive corporal acts and action in the city as a way of questioning. The approaches to these authors were given, in this study, in dialogue with the thoughts of teacher Dr. Paulo Petronílio. Finally, I think of performance as a provocative action of dystopias in the body and in the city, and I point to urban experiments as deviant heterotopias.

The purpose of this study is to examine the social and political functions of the video halls in Kampala, Uganda, based on a field study conducted during two months in the end of 2011. 13 video halls in nine different areas of Kampala form the basis of this study, and the methods being used are observations and structured and semistructured interviews with video hall owners, attendees, street vendors and "people on the street". The video halls are then problematized and discussed through theories on (social) space: Michel Foucault's (1967/1984) concept of "other spaces" and heterotopia; David Harvey's (1996) dialectical approach to the production of space, and; Nick Couldry and Anna McCarthy's (2004) volume on the concept of MediaSpace. The study finds that the social space of the video hall is closely linked with questions of morale and “otherness”: the video hall is by many regarded an immoral place, where thieves gather and people do drugs. This frames the video hall outside of the "normal" social imaginary, even by many of the people attending the hall. The study also finds that the potential for political resistance or an alternative public sphere – one of the main features of Foucault's heterotopia – as seen in the video parlors in Nigeria (Okome 2007) do not seem to have any bearing in the Ugandan context. Factors such as the lack of educational films, and the moral contestation of the social space, is argued to be the cause of this, however the study also makes the argument that the video hall itself, as well as the academic field of film in general, has to be taken more seriously by the academia in Uganda in order to make sense of the functions and implications of this "othering" of the social space that is the video hall.

This thesis focuses on exploring figure-ground within the amorphous suburban green space of Calgary, Alberta. It is an edgeless prairie city, flooded with unused space and tethered by freeways that stretch toward the infinite horizon beyond the mountains. The incessant need to own and parcel nature has created a landscape of excess where both city and nature are a blur at the edge of our distracted vision. Using expanded defi nitions of figure-ground as a design methodology, this thesis attempts to better understand this paradox and to act in its middle ground. Articulating a heterotopia between the ideal with the real, the public and the private, the natural and the artificial, this thesis explores a new imaginative space, delicately but firmly tethered to suburban ground and its elusive horizon. The results manifest in unexpected geometries on a thin strip of park between a backyard and a freeway in Calgary.

The botanic garden is a space of leisure, scientific endeavour, passive recreation, education and conservation. These roles are contradictory, yet coexist 'happily' in a single space. The central aim of this thesis is to investigate the diversity of spaces and meanings in the Christchurch Botanic Gardens from the perspectives of both users and producers of this space. The fieldwork component involves interviews with staff members of the Botanical Services Team at the Gardens, and selected people at the Christchurch City Council offices who were connected with the Gardens in various ways. Additionally, I use the data gathered during my participation in tours of the Gardens. This thesis is both an historical and contemporary analysis of the Christchurch Botanic Gardens. In a general history of the Western botanic garden, I show how colonialism, the Garden City movement and science shaped how botanic gardens functioned in society. This discussion contextualises the history of Christchurch's Botanic Gardens, which I compiled using archival material based on site, and the social practices that take place in this space. Using Foucault's concept of the heterotopia, I analyse the multiple and seemingly conflicting sites that exist inside the boundaries of the Christchurch Botanic Gardens. I explain how these sites are able to coexist inside what Foucault terms a 'happy, universalizing' heterotopic space. I conclude that conflicts between science and leisure, and colonial spaces are not experienced inside the Gardens by visitors. In reality, for visitors to the Gardens, the paradoxical nature of the space and the resulting tension deriving from its multi-faceted role in society continue to exist in harmony. However, conflict between science and leisure is claimed by those who produce the Gardens. This is because the producers are conscious of the competing roles of the Gardens yet are involved in creating a space that caters for a diverse group of visitors.