The extent to which conscious and unconscious mental processes contribute to our experiences of learning and the subsequent knowledge has been subject to great debate. Dual process theories of implicit learning and recognition memory bear many resemblances, but there are also important differences. This thesis uses subjective measures of awareness to explore these themes using the artificial grammar learning (AGL) and remember/know (R/K) procedures. Firstly, the relationship between response times associated with intuition and familiarity based responding (conscious judgment of unconscious structural knowledge) compared to rule and recollection based responding (conscious structural knowledge) in AGL were found to be strikingly similar to remembering and knowing; their R/K analogues. However, guessing (unconscious judgment knowledge) was also distinct from intuition and familiarity based responding. Secondly, implicit learning in AGL was shown to occur at test, which would not be expected in R/K. Finally, wider theories of cognition, unconscious thought and verbal overshadowing, were shown to have measurable effects on AGL and R/K respectively. The approach used in this thesis shows the merits of both in-depth analysis within a given method combined with the synthesis of seemingly disparate theories. This thesis has built upon the important distinction between conscious and unconscious structural knowledge but also suggests the conscious-unconscious division for judgment knowledge may be as important. Implicit learning and recognition memory tasks differ in the kinds of mental processes that subjective measures are sensitive toward; particularly so in situations where judgment knowledge is unconscious. Different theories and methods divide nature in different ways; the conscious-unconscious judgment distinction may prove an important one.

This thesis examines the relevance of Hegelian-Marxian theory to modern day philosophy of cognitive science. It is suggested that certain key Hegelian-Marxian ideas and themes, such as 'externalization', 'praxis' and 'dialectics', have parallels in modern day cognitive science and that, in some instances a direct connection can be traced from Marxian theory to recent cognitive science, via intermediaries such as Vygotsky, Merleau-Ponty and Levins & Lewontin. It is also suggested that the overarching trajectory of cognitive science is one that can be usefully understood in Marxian terms as a 'retreat from alienation.' Taking this as one's starting point enables one to unify otherwise disparate perspectives under a single banner. In addition it provides one with a means of evaluating individual accounts, such as Varela, Thompson and Rosch's 'Embodied Mind' and Clark and Chalmers' 'Extended Mind'. Conversely, some recent cognitive scientific accounts, such as Kirsh & Maglio's work on 'epistemic action', offer further illumination of ideas that are ambiguously expressed in Marxian theory.

Pause analysis is a method that investigates processes of writing by measuring the amount of time between pen strokes. It provides the field of second language studies with a means to explore the cognitive processes underpinning the nature of writing. This study examined the potential of using free handwritten copying of sentences as a means of investigating components of the cognitive processes of adults who have English as their Second Language (ESL). A series of one pilot and three experiments investigated possible measures of language skill and the factors that influence the quality of the measures. The pilot study, with five participants of varying English competence, identified copying without pre-reading to be an effective task and ‘median' at the beginning of words to be an effective measure. Experiment 1 (n=20 Malaysian speakers) found jumbled sentences at the letter and word levels to effectively differentiate test-taker competence in relation to grammatical knowledge. Experiment 2 (n=20 Spanish speakers) investigated the jumbling effects further, but found that participants varied their strategy depending on the order of the sentence types. As a result, Experiment 3 (n= 24 Malaysian speakers) used specific task instructions to control participant strategy use, so that they either attended to the meaning of the sentences, or merely copied as quickly as possible. Overall, these experiments show that it is feasible to apply pause analysis to cognitively investigate both grammar and vocabulary components of language processing. Further, a theoretical information processing model of copying (MoC) was developed. The model assists in the analysis and description of (1) the flow of copying processes; (2) the factors that might affect longer or shorter pauses amongst participants of varying competence level; and (3) sentence stimuli design.

Made available in DSpace on 2016-03-15T19:42:28Z (GMT). No. of bitstreams: 1 Maria Silvia Pinto Santa Fe.pdf: 24380001 bytes, checksum: 5167dc1830bb6d8714bfc5796133e03d (MD5) Previous issue date: 2012-08-10 / This dissertation was to discuss the imagination and its relations with teaching/learning process. Contemporaneously is expected that school develops innovative and creative individual to face problems and therefore need the imagination, not understood in its reproductive dimension, but a creative imagination. This study observed that all psycho-pedagogical phenomena need to be a study that keeps a close proximity to the cultural and political phenomena. The main focus is a reflection on the role of the imagination as teaching/learning strategy in three areas of knowledge: Reading Procedures, Portuguese Language and Mathematics. Students were chosen of 3rd year of elementary school and the strategies used by the teacher in the classroom to promote child development by considering the repertoire and the abilities of each student. This work has as theoretical-methodological reference contributions of cultural historical psychology, in particular those made by L. S. Vygotsky beyond the theories developed in particular with A. R. Luria, A. N. Leontiev and its contributors. For analysis of the material collected used Bardin and Content Analysis. / Esta dissertação tem como objetivo discorrer sobre o papel da imaginação e sua relação com o processo de ensino/aprendizagem. Contemporaneamente espera-se que a escola forme indivíduos inovadores, criativos para enfrentar problemas e, para tal, precisa da imaginação, não entendida na sua dimensão reprodutora, mas uma imaginação criadora. Observa-se neste estudo que todo fenômeno psico-pedagógico necessita ser um estudo que mantenha uma proximidade com os fenômenos políticos e culturais. O foco principal é uma reflexão sobre o papel da imaginação como estratégia de otimização do processo de ensino-aprendizagem em três áreas do conhecimento: Procedimentos de Leitura, Língua Portuguesa e Matemática. Optou-se por alunos do 3º ano do Ensino Fundamental I e as estratégias utilizadas pela professora em sala de aula para promover o desenvolvimento da criança aproveitando o repertório e as habilidades de cada aluno. Este trabalho tem como referência teórico-metodológica as contribuições da Psicologia Histórico-Cultural, com ênfase nas teorias apresentadas por L. S. Vygotsky, além das elaboradas em especial com A. R. Luria, A. N. Leontiev e seus colaboradores. Para análise do material coletado utilizou-se L. Bardin e a Análise de Conteúdo.

Made available in DSpace on 2016-04-29T14:22:51Z (GMT). No. of bitstreams: 1 Daniel Ferreira Lucato.pdf: 47377168 bytes, checksum: 2b257bac5182b8ef29e103b7cf8ff7e6 (MD5) Previous issue date: 2011-04-13 / To study the transformation of industrial devices in artistic arrangements, this research does an analysis of a corpus of the artistic production. This research presents the process which involves the development of objects, especially the appropriation, the deconstruction of some appropriations, storing these appropriations and finally the construction of the artwork. This presentation aims to place the reader inside to the production of an artwork. In a second moment, comparisons are made between the properties and functions of the developed work with the properties and functions perceived by a sample of viewers. With some questions received by viewers, on the occasions when the artwork was exposed, It was possible to confirm the influence of the perceptual filters of each subject. We saw how perception contributes to the various formats of the same artwork. The early research aims to show all the processes involved in a creation of an artwork. It analyzes the characteristics of each production stage. The research uses as objects of study, the artwork produced so far. It presents images, characteristics, materials, mounting needs and description os actions if It is available. With that, the research contributes to form a consistent analysis of a period of career development. To support of this analysis are presented throughout the text, some artists who contributed to this artwork be recognized in the artistic field. This research also present some contemporary artists, Brazilians, who produce works which have affinities with the objects of study, visual, but mostly conceptual. They are artists who produce recycled hacks with industrial devices, creating artworks that run in error, uncertainty and inactivity, giving them goals and other characteristics. At the end of the production analysis are brought reports of a sample of viewers. The purpose of analyzing the contact between the spectator and the artwork artistic arrangements It is to prove that they can share a moment of creation, formatting functions, joints, assemblages and properties in accordance with their own perceptual filters. At that stage, the theories used are the assemblages of double Gilles Deleuze and Félix Guattari and the concepts of imagination, perception and open work, especially for authors like Juremir Machado da Silva, Umberto Eco e Maurice Merleau-Ponty to serve as support to the raise hypothesis / Para estudar a transformação de dispositivos industriais em arranjos artísticos esta pesquisa faz a análise de um corpus de produção artística. São apresentados os processos que envolvem o desenvolvimento dos objetos, em especial a apropriação, a desconstrução de algumas apropriações, o armazenamento dessas apropriações e por fim a construção dos trabalhos artísticos. Essa apresentação visa colocar o leitor a par desse tipo de produção artística. Em um segundo momento, são feitas comparações entre as propriedades e funções dos trabalhos desenvolvidos, com as propriedades e funções percebidas por uma amostra de espectadores. Com algumas questões recebidas pelos espectadores, em ocasiões nas quais os trabalhos estiveram expostos, foi possível confirmarmos a influência dos filtros perceptivos de cada sujeito. Vimos como a percepção contribui para as diversas formatações de um mesmo trabalho artístico. O início da pesquisa visa destrinchar todos os processos que envolvem a criação dos trabalhos artísticos. São analisadas as especificidades presentes em cada etapa da própria produção. Para tanto são utilizados como objetos de estudo os trabalhos produzidos até então. São apresentadas imagens, características, materiais, necessidades de montagem e descrições de ações - quando existem. Com isso a pesquisa contribui para formar uma análise consistente de um período da carreira artística em desenvolvimento. Como apoio a essa análise são apresentados, ao longo do texto, alguns artistas que contribuíram para que tais trabalhos sejam reconhecidos no campo artístico. São apresentados também alguns artistas contemporâneos, brasileiros, que produzem trabalhos os quais possuem afinidades com os objetos de estudo, sejam elas visuais, mas principalmente conceituais. São artistas que produzem gambiarras com dispositivos industriais reciclados, criando trabalhos que operam no erro, na incerteza, na inoperância, dando a eles outras finalidades e características. Ao término da análise da produção são trazidos os relatos de uma amostra de espectadores. O objetivo de analisar o contato do espectador com o trabalho - arranjos artísticos - é demonstrar que os mesmos podem partilhar de um momento de criação, formatando funções, articulações, agenciamentos e propriedades de acordo com os seus próprios filtros perceptivos. Nessa etapa são utilizadas as teorias de agenciamentos da dupla Gilles Deleuze e Félix Guattari, e os conceitos de imaginário, obra aberta e percepção, com destaque aos autores, respectivamente, Juremir Machado da Silva, Umberto Eco e Maurice Merleau-Ponty, para servirem de apoio à hipótese levantada

Submitted by SBI Biblioteca Digital (sbi.bibliotecadigital@puc-campinas.edu.br) on 2016-05-10T14:42:38Z No. of bitstreams: 1 Patricia Maria Barbosa Jorge Sparvoli Costa.pdf: 1692874 bytes, checksum: 06c38b6c295ec1a75de13916000c2f3e (MD5) / Made available in DSpace on 2016-05-10T14:42:38Z (GMT). No. of bitstreams: 1 Patricia Maria Barbosa Jorge Sparvoli Costa.pdf: 1692874 bytes, checksum: 06c38b6c295ec1a75de13916000c2f3e (MD5) Previous issue date: 2015-12-04 / This research investigated the use of child stories with math learning, a subject that brings so many challenges to our students. We verified how fairy tales, read in First year of Elementary School classrooms, can provide children math alphabetization, inside literacy perspective. The main objective was to analyze the possible connections between the use of fairy tales and the math learning for the first year of elementary school children. We realized an empirical research in a public school of Mogi Mirim city, S?o Paulo state, where the town Secretary realized the government program ?Right Age Alphabetization National Pact? (PNAIC, in Portuguese) training. We analyzed the main literacy contributions on the first years of Elementary School in different aspects: analyze how literacy insertion in those children are and identify the docent methodologies when they read stories and relate them to math learning, contemplating the PNAIC objectives. We expect with the development of this research to present new possibilities in the math learning, observing if the fairy tales can contribute in fact with the math alphabetization process. The theoretical and methodological basis anchored in the cultural-historical psychology perspective. During the empirical research, we made systematic observations of classroom routine, mainly on moments with child stories and moments with math learning. The intention was to establish a connection with the children and the teacher. We started the interventions from three fairy tales reading ? The three little pigs; Jack and the beanstalk and Goldilocks and the three bears, beginning always with objects so that children could explore them and build imaginative processes before the story reading. The research observed how fairy tales can be a potentiality on math learning. From established dialogues, different materials and proposals, the children mathematically developed themselves, bringing with them lived experiences outside the school environment. We expect to present new learning math possibilities, observing how fairy tales contribute to math alphabetization process development. / Esta pesquisa investigou a utiliza??o das hist?rias infantis no trabalho com a matem?tica, uma disciplina que provoca tantos desafios aos nossos alunos. Investigamos como os contos de fadas, utilizados nas salas de 1? ano do Ensino Fundamental, podem favorecer o desenvolvimento da alfabetiza??o matem?tica das crian?as, na perspectiva do letramento. Com o objetivo principal de analisar as poss?veis conex?es entre o uso dos contos de fadas e a aprendizagem matem?tica no 1? ano do Ensino Fundamental, realizamos uma pesquisa emp?rica em uma sala de aula de uma escola da rede municipal de Mogi Mirim-SP, cuja Secretaria Municipal tem ofertado forma??o e utilizado as a??es do Pacto Nacional pela Alfabetiza??o na Idade Certa ? PNAIC. O embasamento te?rico-metodol?gico deste trabalho ancorou-se na perspectiva hist?rico-cultural. Na pesquisa emp?rica, realizamos observa??es sistem?ticas da rotina de uma classe, principalmente no que se refere aos momentos do trabalho com a literatura infantil e com a aprendizagem matem?tica. Iniciamos as interven??es junto ?s crian?as, a partir da leitura de tr?s contos de fadas ? Os tr?s porquinhos; Jo?o e o p? de feij?o e Cachinhos Dourados - , partindo da utiliza??o de objetos disparadores para que as crian?as constru?ssem processos imaginativos. Os resultados desta pesquisa permitiram perceber os contos de fadas como uma potencialidade na aprendizagem matem?tica. A partir dos di?logos estabelecidos, dos diferentes materiais e propostas, as crian?as avan?aram matematicamente, inclusive ao indicarem suas experi?ncias vivenciadas fora do ambiente escolar. Esperamos, com o desenvolvimento desta pesquisa, apresentar novas possibilidades de ensino e aprendizagem da matem?tica, tendo como suporte os contos de fadas na perspectiva de que contribuem com o processo da alfabetiza??o matem?tica.

John Dewey (1859-1952) responde por reflexões pedagógicas de grande disseminação, encontradas em meio a uma vasta produção que trata de múltiplas questões prementes de seu tempo, em particular aquelas relacionadas à democracia. Partindo da premissa de que sua filosofia da educação é melhor compreendida quando associada a suas reflexões mais abrangentes, elegeu-se como objetivo desta pesquisa a análise da ressonância da ética de John Dewey em seus ideais pedagógicos, diante de sua concepção de sociedade democrática. O autor se opõe à compreensão da moral como reduto exclusivo da subjetividade sua ética é social e cultural, nascendo o exercício moral de um contexto que serve de base para a busca de alternativas diante de conflitos. Impulso, dever, desejo, interesse, hábito e consequência são componentes da deliberação moral, que ocasionalmente entram em disputa e contam com o apoio da razão e da sensibilidade para descobrirem formas de se harmonizar esse ajuste é a ética, que se efetiva ao considerar as possibilidades de crescimento pessoal e comum que uma decisão traz. Importa a Dewey devolver a ética ao homem comum, nas sua ações cotidianas, para que cada um possa tomar parte das responsabilidades sobre si mesmo e sobre a vida comunitária. Somos constituídos por nossos atos e, portanto, a conduta expressa o caráter. Por isso, o autor confere importância aos hábitos, enquanto resposta rápida às demandas da vida prática, mas assegura à inteligência o papel de conduzi-los, interrompendoos sempre que não respondem adequadamente. Porque não estamos sozinhos no mundo, a ética se faz necessária e é condição para a convivência. Todavia, esse contato não é apenas restritivo; é também chave para uma expansão de sentidos da experiência e para a descoberta de dimensões mais profundas de existência. Essa relação complexa com o outro desafia a inteligência a prospectar alternativas mais integrativas quando escolhemos a democracia. Com isso, a imaginação moral é imprescindível para que o homem desvende novos caminhos em situações de crise. Ela permite ao sujeito um deslocamento para variadas posições, viabilizando a empatia efetiva por interesses alheios. Logo, a imaginação moral é vista por Dewey como um ensaio dramático, em que antecipamos mentalmente resultados esperados em diversos cursos de ação. Essa variedade de opções é criada pela imaginação, cuja liberdade em desenhar mundos possíveis deriva de sua capacidade de articular razão e sensibilidade. Para Dewey, a educação fomenta hábitos e valores, ou seja, promove um certo tipo de cultura. Assim, para que se volte a uma ética democrática, precisa cotidianamente trabalhar com práticas e princípios condizentes. Deve formar hábitos flexíveis e alargar a imaginação, para que esta possa se expressar viva e criativamente. Educação, democracia e ética têm como sujeito o homem comum, que pode forjar um caráter para si e, ao mesmo tempo, participar da condução do mundo que habita. Apenas pelo uso de meios democráticos, em que o interesse pessoal e o comum se articulam, pode uma sociedade se tornar democrática: a filosofia da educação de Dewey ressoa em suas muitas proposições a busca ética por essa harmonia. / John Deweys (1859-1952) pedagogical ideas are largely propagated, as part of a vast body of intellectual work dealing with several pressing issues of his time, especially those related to democracy. Assuming that his philosophy of education is best understood when associated to his broadest reflections, the main objective of this research is the analysis of the resonance of John Deweys ethics on his pedagogical ideals, in face of the authors conception of democratic society. Dewey opposes the idea of morality confined in subjectivity; his ethics is social and cultural, since moral exercise emerges in a context that serves as basis for the search of alternatives before conflicts. Impulse, duty, desire, interest, habit and consequence are components of moral deliberation, occasionally confronting each other; it is through the aid of reason and sensibility that they find ways of harmonizing this adjustment is ethics, which becomes effective through the consideration of possibilities for personal and collective growth implied in its decisions. Dewey is concerned in returning ethics to the common man, throughout his daily actions, so that every person can be responsible for himself and for the community. We are made from our actions and, therefore, conduct expresses our character. Hence, the author attributes great importance to habits, understood as fast responses to the demands of practical life; however, intelligence also has its role, interrupting habits when they do not function properly. Because we are not alone ethics is necessary, it is prerequisite to cohabitation. Nonetheless, this social contact cannot be seen as solely restrictive; it is also key to an expansion in the meaning of experience and to the discovery of a deeper understanding of existence. This complex relationship with others challenges intelligence to search for more unifying alternatives, whenever we live in democracy. Thus, moral imagination is necessary for man to find new paths in a crisis situation. It allows us to shift to other perspectives, effectively enabling sympathetic feelings. Accordingly, moral imagination is seen as a dramatic rehearsal, through which we mentally anticipate expected results of multiple courses of action. This variety of options is created by imagination, whose freedom to design possible worlds derives from its ability to articulate sense and sensibility. For Dewey, education fosters habits and values, i.e., it promotes a certain kind of culture. Therefore, in order to be in agreement with democratic ethics, education must work daily with appropriate practices and principles. It must form flexible habits and broaden imagination, in order for it to express itself lively and creatively. The common man is the subject of education, democracy, and ethics. It is he who can forge his own character and, simultaneously, take part in the making of the world in which he lives. Only through the use of democratic means, where personal and common interests are articulated, can society become democratic: Deweys philosophy of education states in many of its propositions this ethical search for harmony.

John Gardner’s Grendel examines the ways in which humans make meaning out of their lives. By changing the original Beowulf monster into a creature who constantly questions the conflicting narratives set before him, Gardner encourages us to confront these tensions also. However, his emphasis on Grendel’s alienation helps us realize that community is essential to creating meaning. Most obviously, community creates relationships that foster a sense of moral obligation between its members, even in the face of the type of uncertainty felt by Grendel. Moreover, community cannot exist without dialogue, which perpetually stimulates the imagination to respond to the tensions contained in a plurality of viewpoints. Gardner encourages us to question narratives which no longer serve us and to use our imagination to tell new stories that cultivate positive ideals such as love and hope.

L’avancée des forêts au Moyen Age confinait à une proximité inquiétante avec des animaux sauvages qui échappaient à notre volonté de maîtrise et de contrôle, engendrant d’inévitables conflits de territoire. Ces conflits sont à l’origine du classement de certaines espèces dans la catégorie des « nuisibles ». Les plus étudiés d’entre eux demeurent les grands prédateurs, loup et ours notamment. Les mustélidés (la belette (Mustela nivalis), la fouine (Martes foina), la martre (Martes martes), le putois (Mustela putorius) et le vison d’Amérique (Mustela vison)) ont beau être des prédateurs plus discrets en taille comme en popularité, ils n’en demeurent pas moins étroitement dépendants des « respirations » de l’imaginaire humain. Leurs mœurs nocturnes et leurs comportements furtifs sont le terreau sur lequel poussent et se nourrissent les perceptions humaines. Brossant le portrait de cette insaisissable engeance, regroupée par les piégeurs sous le vocable collectif de « sauvagine », nous engageons une réflexion pluridisciplinaire réconciliant sciences naturelles et humaines et mêlant plusieurs approches capables de s’éclairer et de se répondre : géographie, anthropologie, écologie et symbolisme. L’étude des écrits naturalistes anciens, associée à un travail d’enquête auprès de naturalistes et de piégeurs dans les campagnes de moyenne montagne du sud-ouest du Massif central (Aveyron, Tarn et Tarn-et-Garonne), permet de mieux appréhender l’évolution de la notion d’animal « nuisible » et sa perception par les acteurs de terrain. Éternels « hors-la-loi », les mustélidés déjouent nos tentatives de les cerner, de les identifier et de leur assigner un territoire parfaitement distinct du nôtre. Le partage des territoires échoue, l’homme échouant à tenir ces petits animaux ondoyants en respect, à leur place, de leur côté de la barrière. Les « nuisibles » offrent une illustration exemplaire de l’homme confronté au sauvage et permettent une analyse de l’hésitation permanente entre ordre et désordre, partage et partage, altérité et identité. / The advance of forests in the Middle Ages bordered on a disturbing nearness with wild animals which escaped our will of control, engendering inevitable conflicts of territory. These conflicts are at the origin of the classification of certain animal species in the category of “pests”. The most studied of them remain the big predators, wolf and bear in particular. Mustelids (weasel (Mustela nivalis), stone marten (Martes foina), marten (Martes martes), polecat (Mustela putorius) and American mink (Mustela mink)) may be more discreet predators in size as in popularity, they remain not less strictly dependent on “breaths” of the human imagination there. Their night-customs and their furtive behavior are the compost on which the human perceptions grow and feed. Painting a portrait of this imperceptible scum, grouped by trappers under the collective word of “Sauvagine”, we commit a multidisciplinary reflection reconciling natural and human sciences and mixing several approaches : geography, anthropology, ecology and symbolism.The study of natural histories, associated with investigations with naturalists and with trappers in the countrysides of low mountain range of the southwest of Massif Central (Aveyron, Tarn and Tarn-et-Garonne), allows to comprehend better the evolution of the notion of “pests” and its perception by rural actors. Eternal “outlaws”, weasels frustrate our attempts to encircle them, to identify them and to assign them a territory perfectly different from ours. The sharing of territories fails, the man failing to hold these small undulate animals in respect, on their place, from their part for the barrier. “Pests” offer an exemplary illustration of the man confronted with the savage and allow an analysis of the permanent hesitation between order and disorder, sharing and sharing, otherness and identity.

La conception du « roman total » proposé par Romain Gary met fin au « chef d’œuvre ». Traversant « le siècle des ténèbres », Romain Gary trouve une part de responsabilité de l’art et de l’artiste dans l’impuissance de la culture face à l’horreur existante. Pourtant, bien qu’il mette l’accent sur la fonction sociale de l’art, Romain Gary n’adhère pas à l’art engagé, ni au roman réaliste ou au Nouveau roman. Il ne cherche pas à imposer ses idées au lecteur, mais veut lui ouvrir un espace de liberté. L’art doit être une jouissance pour qu’il finisse par devenir une force éthique. Il amène une prise de conscience de ce qui manque à la réalité. L’esthétique garyenne consiste à rendre au lecteur son autonomie de pensée. Nombre de ses personnages incarnent la figure de l’artiste sous différentes formes provocatrices : picaro, dandy, clown, etc. Pour Romain Gary, créer, c’est jouir et la jouissance est une révolte métaphysique contre la condition de la vie et contre la souffrance. Les artistes dans ses romans figurent bien ceux qui mènent cette lutte. Transgresseurs des valeurs et des ordres établis, les artistes chez l’auteur tiennent à se libérer de la réalité. Cette libération s’effectue d’une part à travers la création d’un monde imaginaire, d’autre part à travers le dépassement de soi ou la création de soi. Transformant leur vie comme une œuvre de leur imagination, les artistes garyens témoignent d’une identité multiple et en « devenir ». / Néant