This thesis explores various dilemmas in making theatre performances in the context of social disruption, trauma and death. Diverse discourses are drawn in to consider issues of body, subjectivity and spectatorship, refracted through the writer’s experiences of and discontent with making theatre. Written in a fractal-like structure, rather than a linear progression, this thesis unsettles discourses of truth, thus simultaneously intervening in debates about the epistemologies of the body and of theatre in context of the academy. Chapter 1: Methodological Anxieties Psychoanalytic theory provides a way in for investigating the dynamics of theatrical performance and its corporeal presence, by focusing on desire and its implication in the notions of loss and anxiety. The theories of the unconscious and the gaze have epistemological implications, shifting definitions of “presence” and “truth” in theatre performance and writing about theatre. This chapter tries to outline the rationale for, as well as to enact, an alternative methodology for writing, as an ethical response to loss that does not insist on consensus and truth. Chapter 2: (Refusing to) Look at Trauma This chapter examines the politics that strives to make suffering visible. Discursive binaries of public/private, dead/living, and invisible/visible underlie the politics of AIDS and sexuality. These discourses impact on the reception of Bill T. Jones's choreography, despite his use of modernist artistic processes in search of a bodily presence that aims to collapse the binary of representation (text) and its subject (being). The theory of the gaze shows this politics to be a phallocentric discourse; and narrative analysis traces the metanarrative that results in the commodification of oppositional identities, so that spectators participate in the politics as consumers. An ethical artistic response thus needs to shift its focus to the subjectivity of the spectator. Chapter 3: The Screen and the Viewer’s Blindness By appealing to a transcendent reality, and by constituting spectators as a participative community, ritual theatre claims to enact change. The “truth” of ritual rests not on rational knowledge, but on the performer’s competence to produce a shamanic presence, which director Brett Bailey embraces in his early work. Ritual presence operates by identification and belonging to a father/god as the source of meaning; but it represses the loss of this originary wholeness. Spectators of ritual theatre are drawn into an enactment of communion/community, the centre of which is, however, loss/emptiness. The claim of enacting change becomes problematic for its absence of truth. Bailey attempts to perform a hybrid, postcolonial aesthetics; but the problem rests in the larger context of performing the notion of “South Africa”, a communal identity hardened around the metanarrative of suffering, abjecting those that do not belong to the land of the father/god – foreigners that unsettle the meaning of South African identity. Conclusion: Bodies of Discontent The South African stage is circumscribed by political and economic discourses; the problematization of national identity is also a problematization of image-identification in the theatre. In search for a way to unsettle these interrogative discourses, two moments of performing foreignness are examined, one fictional, one theatrical. These moments enact a parallel to the feminine hysteric, who disturbs the phallocentric truth of the psychoanalyst through body performance. These moments of disturbing spectatorship are reflected in the works of performance artist Marina Abramovic. Her explorations into passive-aggression, shamanism and finally theatricality and the morality of spectatorship allow for an overview of the issues raised in this thesis regarding body, viewing, and subjecthood. Sensitivity to the body and its discontent on the part of the viewer becomes crucial to ethical performance.

The thesis examines challenges museum curators face when outsourced performers – whose role it is to embody the work of other artists – are included in exhibition projects. The research questions are: What are the practical, juridical and ethical challenges that come with situating outsourced performance labour in the museum setting? What does the inclusion of live performance in exhibition projects mean for the role of the museum curator? Two exhibition cases in Stockholm are studied in the thesis: Marina Abramović – The Cleaner (2017) at Moderna Museet and Dora García, I Always Tell the Truth at Bonniers Konsthall (2018–19). The material consists of digital surveys that were sent out to employed performers from each exhibition case as well as interviews that were conducted with both performers and curatorial staff. The material was examined using theories on affective labour and the theoretical notion of de-skilling and re-skilling of acquired competences.  The thesis shows that the practical challenges include the architectural conditions of museum buildings, insufficient prior knowledge on what working with performers entail, short project timespans and limited exhibition budgets. The juridical challenges include a lack of union recommendations for performance in museums and the difficulty of situating reperformances of historical works that in its form and duration may go against national labour regulations. The ethical challenges include commodification of performers’ subjectivity through instances of affective labour and mechanisms of objectification. In turn, both the outsourced performer and the museum curator turned performance curator inhabits a precarious working situation. The role of the performance curator is highly administrational and organisationally tedious in its positioning between curatorship, performing arts production and human resource management. Additionally, it entails a prodigious amount of affective labour in the reproductive mode – of emotional investments, conflict resolution and social liaison.

Caracteriza la comunidad de invertebrados bentónicos en la zona litoral de lagunas altoandinas de la región central del Perú y evalúa la respuesta al factor ambiental determinado por los metales tóxicos del drenaje ácido de mina. Se muestrearon un total de tres lagunas: laguna Huarancocha, relavera Milpo Andina y laguna Yanamate, realizando tres campañas anuales en la época de seca (otc-2015, set- 2016 y oct-2017), con cinco estaciones de muestreo en cada laguna. Se registraron parámetros fisicoquímicos como temperatura, pH, conductividad y oxígeno disuelto in situ con un multiparametro y se registro metales pesados (Arsénico y Cadmio) en agua y sedimento. Para el muestreo de invertebrados bentónicos se aplicó el protocolo de muestreo y análisis de invertebrados bentónicos del Ebro de España, en donde se utiliza el método de recolección de tipo cuantitativo para las zonas de lagos y lagunas con replicas. Los resultados fisicoquímicos indican que las variables de mayor variación espacio-temporal en las lagunas estudiadas fueron en su orden conductividad eléctrica, oxígeno disuelto, pH y temperatura. Concluyendo que la presencia de pH ácido, el incremento de metales pesados, conductividad, temperatura y oxigeno disuelto influyen en la riqueza y abundancia de especies, caso de relavera Milpo Andina y laguna Yanamate. Se observó que durante los años evaluados se obtuvo mayor abundancia y riqueza de especies en la laguna Huaroncocha en la primera y tercera fecha de muestreo, en comparación al segundo muestreo. Esto puede deberse a la escasez de lluvia para ese año, disminución del nivel de agua e incremento de materia orgánica. Relavera Milpo Andina presento en la primera fecha de muestreo una mayor diversidad de organismos con una abundancia aceptable, sin embargo en el segundo y tercer muestreo se observó una baja en la diversidad de especies proporcional al incremento de metales pesados, presentando un mayor número de organismos resistentes a este tipo de contaminación como es el caso de la familia Chironomidae. En el caso de laguna Yanamate, no registró especies en ninguna de las fechas evaluadas, debido al grado de acidez de sus aguas y elevada concentración 7 de metales pesados en sedimento y agua, lo que imposibilita la biodiversidad y por ende la recuperación de este espejo de agua. En los tres muestreos realizados en relavera Milpo Andina, se puede observar como los grupos formados se alejan, mostrando una similaridad del 63%. Las estaciones RMp-3 y RMp-5 fueron las que mostraron mayor similaridad y las que estuvieron cerca de los puntos de contaminación mineros. Los índices de diversidad de Shanon-Wiener y de equidad de Pielou, al igual que el análisis multivariado ANOSIM y nMDS señalan diferencias significativas en las tres campañas. El Analisis Canonico de Correspondencia (ACC) para laguna Huaroncocha y relavera Milpo Andina mostro que el eje 1 y 2 presentan una alta variabilidad de la varianza total del 72,93% y 80,38%. Los índices biológicos evaluados mostraron aguas de calidad moderadamente poludida a fuertemente poludida (Indice Shannon-Wieneer), bueno a pésimo (ABI), aceptable a critica (BMWP/Col) y moderadamente pobre a pobre (ASPT). / Perú. Ministerio de la Producción. Programa Nacional de Innovación para la Competitividad y Productividad (Innóvate Perú). Fondo para la Innovación, la Ciencia y la Tecnología (FINCyT) / Tesis

Publicación a texto completo no autorizada por el autor / Caracteriza la composición de las comunidades de macroinvertebrados bentónicos del submareal somero de la isla San Lorenzo. Los muestreos se realizaron a lo largo de 13 transectos perpendiculares a la línea de costa, cada transecto presentó cuatro estaciones entre los 3 y 20 m de profundidad, en el periodo de junio y noviembre del 2010. Posteriormente, en base al análisis de muestras se obtuvieron los datos de número de especies, número de individuos y peso húmedo por taxa. La composición de las comunidades fue analizada en base a tres factores: sustrato, profundidad (4 rangos) y exposición al oleaje, además se evaluó la influencia de estos factores sobre estas comunidades. Los resultados mostraron que los fondos submareales de la isla San Lorenzo albergan un importante número de invertebrados macrobentonicos, registrando un total de 219 taxa dominados por los Phyla Annelida, Mollusca y Arthropoda. Los análisis multivariados mostraron que el único factor que influye significativamente en la composición de las comunidades es el tipo de sustrato. Los fondos de sustrato rocoso y mixto fueron los tipos de sustrato que presentaron el mayor número de taxa, individuos, mayor biomasa, diversidad y riqueza de especies, en cambio los sustratos arenoso y fangoso presentaron valores inferiores. Se concluye que la composición de las comunidades de invertebrados bentónicos en la Isla San Lorenzo, el único factor que influye significativamente es el tipo de sustrato, y que estas comunidades poseen valores de diversidad específica entre altos y moderados. / Tesis

This thesis explores an experimental music approach to writing autobiography. As a composition, Pilgrim Carnival took place as a travelling series of events. The central event was a sound installation for a blindfolded audience. This essay is a description of that series of events as well as a discussion of similar precedents in interdisciplinary art. Beginning with Luigi Russolo and Marcel Duchamp, aspects of autobiography are examined in both noise music and the concept of the ready-made artwork. Body Art of the 1970s, particularly the work of Marina Abramovic, is also tied into the idea of the ready-made artwork as an explicitly autobiographical example. The hybrid form of Pilgrim Carnival and the concept of ready-made autobiographical music create ongoing potential for new work.

The National Theatre's Frankenstein is not the first time Shelley's novel has been adapted for the stage, but it is the first time a stage adaptation has returned the popular story to its source material's feminist themes. Departing from the iterations that portrayed Victor Frankenstein as a Byronic hero, Nick Dear's adaptation has re-designed Frankenstein to be misogynistic and calloused. His new nature is best observed in the scene wherein Frankenstein presents the Woman-Creature he's built for his first Creature. She is naked, silent, submissive, and viciously dismembered at the end of the scene. While such submissiveness might justifiably be criticized by a society that has become incredibly concerned for the representation of women in media, this scene has striking similarities to several performance art pieces of the 1960's and 1970's. Building on an understanding of how these pieces function, the Woman-Creature stops being problematic, and becomes poignant. This thesis compares the Woman-Creature's scene to three particular pieces: Marina Abramovic's "Rhythm 0,"Carolee Schneeman's "Meat Joy,"and Suzanne Lacey's "Three Weeks in May."While not a performance art piece itself, this particular scene in Frankenstein has similar purposes, mainly to show the consequences of a social structure that places men as the dominant leader. By not shying away from the visceral nature of these consequences, this production of Frankenstein shocks the audience and reminds them of the harsh realities of the patriarchal structure still seen today.

Examensarbetet som presenteras i denna rapport är ett delprojekt utfört i samarbete med Glava Energy Center och redovisar framtagningen av ett PV-system för den eldrivna båten Bowter. I rapporten utfördes en energianalys där solinstrålning i olika plan studerades och analyserades. Möjligheter att utöka antalet solceller baserat på båtens design undersöktes, där båtens horisontella badbrygga samt vertikala långsidor bedömdes vara de ytor som var lämpliga för placering. Förslag på konfigurationer av PV-systemet dimensionerades och den förväntade mängden genererad energi och laddning beräknades. Systemet som togs fram skulle enligt beräkningar i genomsnitt generera mellan 1,06–2,22kWh energi per dag och kosta omkring tio tusen kronor. Energianalysen visade att solceller placerade i 30–40° lutning i genomsnitt skulle kunna generera mellan 20–43 procent mer energi och laddning än den valda vertikala placeringen. Med båtens nuvarande design utan några möjligheter för placering av solceller i lutande plan går därmed denna potentiella mängd energi förlorad. Praktiska mätningar av energi via reflektioner från vattenytan visar heller inga övertygande tecken på att rädda upp för denna mängd förlorad energi. Simuleringar av det framtagna systemet genomfördes och jämfördes med det beräknade genomsnittet, vilket visade att man skulle kunna förvänta sig cirka 25 procent mer energi under klara förhållanden och 76 procent mindre energi under svåra väderförhållanden med långvariga och heltäckande moln. Av resultaten drogs slutsatsen att det mest praktiska alternativet för maximal systemeffekt är att möjliggöra placering av fler solceller i horisontellt plan via t.ex. en takdel och på den vägen erhålla ett mer pålitligt och förutsägbart resultat som både skulle vara mer effektivt samt ekonomiskt fördelaktigt i jämförelse med det framtagna systemet. / The thesis work presented in this report is a sub-project carried out in collaboration with Glava Energy Center and reports on the development of a PV system for the electric boat Bowter. In the report, an energy analysis was performed where solar irradiance in different planes was studied and analyzed. Opportunities to increase the number of solar cells based on the boat's design were investigated, where the boat's horizontal swim platform and vertical sides were determined to be the areas that were suitable for placement. Proposals for configurations of the PV system were sized and the expected amount of generated energy and charge capacity were calculated. According to calculations the proposed system would on average generate between 1.06–2.22kWh of energy per day and cost around SEK 10,000. The energy analysis showed that solar cells placed at an angle of 30–40° could on average generate between 20–43 percent more energy and charge than the chosen vertical placement. With the boat's current design without any possibilities for placing solar cells in an inclined plane, this potential amount of energy is lost. Practical measurements of energy via reflections from the water surface show no convincing signs of compensating for this amount of lost energy. Simulations of the proposed system were carried out and compared with the calculated average, which showed that one could count on about 25 percent more energy in clear conditions and 76 percent less energy in harsh weather conditions with long-lasting and overcast clouds. From the results, it was concluded that the most practical alternative for maximum system power is to enable the placement of additional solar cells in a horizontal plane via e.g. a roof section and in that way obtain a more reliable and predictable result that would be both more efficient and economically advantageous in comparison with the proposed system.

It‘s all relative. What might seem slow to someone who deals with water every day, is rapid when measured against thousands of years of ice ages and hundreds of years of mining. First nature and then humans and technology have dramatically changed our landscape up until the year 1990 and beyond.

El Perú es uno de los países con mayor biodiversidad marina a nivel mundial, sin embargo, existe muy poco conocimiento sobre el tema. Tanto el MINAM como el IMARPE coinciden que la falta de investigación y conocimiento sobre las especies de los ecosistemas acuáticos en el Perú perjudica su preservación. El acuario de Lima y callao busca de esta forma informar y educar a la población sobre la diversidad existente tanto en el mar como en los distintos cuerpos de agua existentes en el Perú, exhibiendo especies endémicas de nuestro país. Esta edificación estaría ubicada cerca al mar en el distrito de La Punta, Callao, sirviendo a su vez como remate del circuito de playas. Además, su ubicación dentro del humedal costero Poza de la Arenilla le permite resaltar a través de la arquitectura las características más resaltantes de su entorno natural. / Perú is one of the countries with the highest marine biodiversity worldwide, however, there is very little knowledge on the Subject. Both the MINAM and the IMARPE agree that the lack of research and knowledge on the species of aquatic ecosystems in Peru harms their preservation. The Aquarium of Lima and Callao seeks in this way to inform and educate the population on the diversity existing both in the sea and in the different bodies of water existing in Perú, exhibiting endemic species of our country. This building would be located near the sea in the district of La Punta, Callao, serving as the end of the beach circuit. In addition, its location within the coastal Poza de la Arenilla wetland allows to highlight through the architecture the characteristics of its natural environment. / Tesis

Featuring an ethnohistory of two Coast Salish communities — the Suquamish Tribe in Washington State and the W̱SÁNEĆ Nation in British Columbia — this dissertation is a transborder study of Indigenous shellfish harvesting and foreshore rights in the Salish Sea across the twentieth century. It explores the history of the interface between land and sea within the context of treaty rights to resources and Indigenous nations’ sovereignty over marine habitats. This study also turns the ethnographic lens on the settler population. Using tools offered by recent scholarship on settler colonialism, it helps explain why the general public has resisted treaty and Aboriginal rights to fisheries and other resources. This dissertation also reveals Coast Salish nations’ responses to settler encroachment of their foreshores and state disruption of their management of the marine environment throughout the twentieth century and offers two community studies to illustrate how local Indigenous communities have re-shaped relationships between Indigenous peoples and settlers on the Salish Sea. The first study examines Suquamish’s right to shellfish under the Point Elliott Treaty and affirmed by the 1994 Rafeedie decision, as well as the interrelated 1980s tidelands case for ownership of the beaches attached to the Port Madison Reservation. The second examines W̱SÁNEĆ people’s defense of Saanichton Bay from a marina development, when the SȾÁ,UTW̱ (Tsawout) community wielded its Douglas Treaty rights in Claxton v. Saanichton Marina, 1987. Utilising Karl Jacoby’s concept of a “moral ecology,” this study argues that by ignoring Indigenous Knowledge regarding marine resource management, and by creating an overly complex regulatory scheme guided by principles of capitalism, settler officials on both sides of the border missed opportunities to avoid some of the greatest challenges to marine health and resource survival in the Salish Sea. / Graduate / 2023-04-12