La notion d’espace prend un sens très fort et comme actif dans le travail artistique de Robert Irwin. Celui-ci instaure un nouveau mode d’être pour l’espace par son installation dite « site-conditioned/determined » tout en la nouant pourtant avec celui du site préexistant, qu’il soit intérieur ou extérieur. Le statut ontologique de son installation est celui d’un « non-objet », d’une extrême simplicité de forme et d’un minimum de matérialité : une bande noire ou une surface de voile semi-transparent, à la fois objet montré et sujet montrant, mettent en jeu lumière et ombre, attirant notre attention non seulement sur lui mais tout autour, intégrant l’espace où il s’intègre. L’installation est mise en œuvre de son environnement architectural ou naturel. L’installation est ainsi installa(tten)tion, c’est-à-dire installation qui installe l’attention. Ce que procure l’artiste au spectateur par son installation est la sensation pure de l’apparaître dynamique et changeant de l’espace du monde réel. Sensible d’abord à la dimension réelle de l’espace physique, nous découvrons peu à peu sa dimension virtuelle, puis transcendantale, au fur et à mesure que ce processus de sensation pure déclenché par l’aspect inhabituel de cet espace pourtant réel se déploie. Grâce au toucher direct et vivant d’un sentir aiguisé, et visuel et kinesthésique, éveillé par l’installation de Robert Irwin, devient quasi palpable notre conscience d’exister. Elle résonne alors à la réalité directe et immédiate du monde mais aussi aux virtualités de son apparaître et à ce qui les rend possibles : sa forme en soi, révélée et actualisée comme la véritable nature de l’espace réel. / The notion of space has a strong and active meaning in Robert Irwin’s art work. He establishes a new way of appearance of space through his so-called “Site-conditioned/determined” installation by uniting the installation with the space of the existing site, whether indoors or out. The ontological status of his installation is that of a “none-object”: extremely simple in form and with a minimum of materials. He uses a black tape or a surface of semitransparent scrim. These objects are both “object shown” and “subject showing”. They play with light and shadow, catching our attention not only on themselves but also on their surroundings, including the space into which they fit. So the art piece is not only the installation itself but its circumstance with its whole architectural or natural environment. So the installation is installa(tten)tion, that is to say an installation that installs attention. Through the installation, the artist provides for the viewer a chance to have a pure sensation of the dynamic and changing appearance of space in the real world. At first sensitive to the real dimension of physical space, we discover little by little its virtual and then transcendental dimensions, as this process of pure sensation unfolds, triggered by the unusual aspect of the real space caused by the installation. A direct and living contact through a sharpened feeling, both visual and kinesthetic, with the space, awakened by the installation of Robert Irwin, makes our awareness of existing almost palpable. This awareness of existing resonates with the direct and immediate reality of the world as well as potentialities of the world’s appearance and what makes these potentialities possible: form in itself, revealed and actualized as the true nature of real space.

[pt] As obras de Piet Mondrian e Richard Serra possuem profunda relação com a metrópole. Seus trabalhos abrangeram distintas temporalidades urbanas no decorrer do século XX, e foram permeados direta e indiretamente pela música e pela dança, artes temporais igualmente circunscritas ao fenômeno urbano. Mondrian identifica no ambiente moderno, dinâmico e veloz, da Paris da primeira metade do século XX, as premissas de sua teoria oplástica do equilíbrio universal. Procurava realizar sua teoria em outras artes além da pintura, de modo que ao integrar-se à vida, a arte desapareceria. Sua chegada a América coincide com a transferência do centro artístico mundial de Paris para Nova York. No rico embate entre Europa e América, percebemos as diferenças entre a monumental escala do Novo Continente e a permanente atividade de seu povo, em contraposição às dimensões tímidas e o temperamento contemplativo do homem do Velho Continente. Hoje, a mecanização das metrópoles já não é mais polêmica ou fascinante, mas responsável pela monótona e repetitiva vida urbana da qual partiu a obra dos Pós-Minimalistas, entre os quais, Richard Serra. O caráter utópico da intura de Mondrian, cuja virtualidade se queria transformadora da realidade, visando a sociedade madura exemplificada pela América, está ausente na arte do pós- guerra. Os planos inseridos por Serra no tecido urbano não querem su-cumbir ao colapso do grid cubista, buscam o embate literal entre o habitante da metrópole e as coisas que o cercam, num mundo já muito pouco palpável. / [en] The works of Piet Mondrian and Richard Serra are profoundly related to the metropolis. Their works embrace different urban temporalities elapsed in the twentieth century. They were directly and indirectly influenced by music and dance, temporal arts equally confined to the urban phenomenon. Mondrian identifies the universal balance premises of his neoplastic theory in the modern, dynamic and fast Parisian environment of the first half of the twentieth century. He tries to accomplish his theory in other arts besides painting, so that by integrating art in life, the former would disappear. His arrival in America coincides with the artistic world center move from Paris to New York. In the cultural clash between Europe and America, one realizes the differences between the New World`s monumental scale and its dynamic people, against the shy dimensions and contemplative nature of the men in the Old Continent. The metropolis` mechanization is no longer polemic or fascinating, but responsible for the monotonous and repetitive urban life, from which the Post-Minimalists emerged, among them Serra. The utopian character of Mondrian`s painting, whose virtuality intended to transform reality, like America`s ripe society example, is absent in post-war art. The planes inserted by Serra in the urban fabric don`t intend to succumb to the cubist grid`s collapse. They seek the literal clash between the metropolis citizen and what surrounds him, in a very little tangible world.

Notre recherche se concentre sur la conception d’interfaces pour la communication émotionnelle à distance. Notre travail s’inscrit notamment dans le cadre de l’élaboration d’espaces numériques d’interactions tactiles, rendus possibles par la connexion en réseau de dispositifs de suppléance perceptive. Nous adoptons une approche énactive et interactionniste de la cognition sociale. Nous utilisons de plus la méthodologie minimaliste, qui offre une opportunité originale d’étudier la constitution des rencontres interpersonnelles au sein d’espaces mettant en place des couplages sensori-Moteurs inédits. Nous déroulons deux méthodologies, en articulant les domaines de la recherche fondamentale, de l’étude expérimentale et du design.Dans un premier temps, nous partons de la théorie autour du thème du toucher, avant de proposer une solution d’interface : l’application smartphone Touch Through. Elle permet une suppléance perceptive du toucher en se basant sur des propriétés fonctionnelles de ce sens. Touch Through sert ensuite à une expérimentation basée autour d’un test de Turing minimaliste, afin de tester la possibilité d’un sentiment de présence à distance avec notre application et de la mettre entre les mains d’utilisateurs.Dans un second temps, nous adressons la question de l’attention conjointe avant de mettre en place une étude expérimentale autour de ce thème (tâche de distinction entre des objets privés et des objets communs). Forts des résultats, nous proposons alors un prototype d’interface pour le réseau social facebook, en mettant en avant des possibilités d’attention conjointe au sein du site et en offrant une interaction inédite autour des posts. / Our research is aimed at designing interfaces for the remote communication of emotions. In particular our work is part of the development of tactile interaction digital spaces. These are made possible by a network connection between perceptual supplementation devices. We consider an enactive and interactionist approach of social cognition. In addition, we use a minimalist methodology. This offers an original opportunity to study the very constitution of interpersonal encounters within spaces where unprecedented sensorimotor couplings happen. We work through two methodologies, each articulating the fields of fundamental research, experimental study and design.In a first phase, we start from theory around the theme of touch, before proposing an interface solution – the smartphone application ‘Touch Through’. This application allows a perceptual supplementation of touch using its functional properties. ‘Touch Through’ is then used in a experimental study based on a minimalist Turing test. This experiment is about testing the possibility of a presence in absence feeling through our application. It was also an opportunity to have users handling it.In the second phase we address the question of joint attention. After a study of this question, we design an experiment where we propose a task of discrimination between private and common objects. Based on the outcome of this experiment, we then propose an interface prototype for the social network ‘facebook’. With this prototype interface, the facebook website is enhanced with possibilities of joint attention. In addition, facebook users can take part in an original interaction around posts.

Selon la théorie cellulaire, issue des travaux de M. J. Schleiden, T. Schwann et R. Virchow au 19e siècle, le plus petit niveau d’organisation comprenant toutes les caractéristiques nécessaires et essentielles au vivant serait la cellule. Cette affirmation est aujourd’hui remise en question par les scientifiques et philosophes, d’une part à la suite de l’analyse d’entités biologiques ambiguës aux frontières (inférieures et supérieures) de la « cellule vivante », et d’autre part de l’avènement des récents enjeux en lien avec la création et la recherche de nouvelles entités vivantes. Un pluralisme épistémologique du concept de « vivant » a ainsi émergé, duquel aucune définition claire et unanime n’est encore acceptée. L’objectif général de cette thèse est de trouver des pistes de solution au problème du pluralisme épistémologique du concept de « vivant » ainsi qu’aux enjeux pratiques reliés à ce concept en biologie. Pour ce faire, je propose l’idée que les enjeux pratiques peuvent contribuer à résoudre le pluralisme conceptuel du « vivant », en particulier que la biologie synthétique est à même de nous offrir une définition du vivant permettant de dépasser l’actuel pluralisme de ce concept. Plus spécifiquement, en ce qui a trait à la question du pluralisme, j’expose dans cette thèse un pluralisme « biologique » et « philosophique ». Du côté « biologique », je démontre la flexibilité d’application ainsi que le pluralisme du concept de « vivant » grâce à l’exposition de cas ambigus d’entités biologiques issues de divers niveaux hiérarchiques de complexité du vivant. Ce faisant, je défends une position symbiotique et holistique d’organisation du vivant (permettant d’inclure et d’articuler ces divers niveaux hiérarchiques). Du côté « philosophique », je démontre le pluralisme du concept de « vivant » à la suite d’une analyse que je qualifierai de disciplinaire, ontologique, linguistique et épistémologique. Ce faisant, je défends une position gradualiste et opérationnelle du concept de « vivant ». En ce qui concerne les enjeux pratiques, j’explore principalement la discipline de la biologie synthétique, qui s’est donné l’objectif de construire de nouvelles entités biologiques vivantes et ainsi le fort potentiel de contribuer au développement de nouvelles connaissances sur le vivant. Ce faisant, je prends ainsi la position que la biologie synthétique peut apporter des pistes de solution pragmatiques (par la construction d’entités vivantes fonctionnelles) au pluralisme épistémologique du concept de « vivant ». Finalement, après une analyse de théories de la connaissance associées à ces enjeux, de définitions stipulatives, ainsi que de concepts du vivant issus de la biologie synthétique, je développe mon propre modèle du « vivant» (que je qualifie de biosynthétique), qui se veut « pragmatique » (en accord avec la pratique des biologistes synthétiques), « progressiste » (s’adaptant à de futures découvertes dans le domaine), « holistique » (s’appliquant à l’ensemble des niveaux d’organisation du vivant) ainsi que « minimaliste et universelle» (correspondant aux caractéristiques essentielles de base retrouvées au sein de toutes les entités vivantes). Cette thèse présentera ainsi « pourquoi » et « comment » la biologie synthétique peut répondre à la question de la définition du vivant. / According to the cell theory, resulting from the works of M. J. Schleiden, T. Schwann and R. Virchow in the 19th century, the smallest level of organization including all the necessary and essential characteristics to the living would be the cell. This assertion is now challenged by scientists and philosophers, on the one hand following the analysis of ambiguous biological entities at the boundaries (lower and upper) of the "living cell", and on the other hand the advent of recent issues related to the creation and search for new living entities. An epistemological pluralism of the "living" concept has thus emerged, from which no clear and unanimous definition is yet accepted. The general objective of this thesis is to find possible solutions to the problem of epistemological pluralism of the "living" concept and to the practical issues related to this concept in biology. To do this, I propose the idea that practical issues can contribute to solving the conceptual pluralism of the concept "living", in particular that synthetic biology is able to offer us a definition of the living allowing to overcome the current pluralism of this concept. More specifically, regarding the question of pluralism, I expose in this thesis a "biological" and "philosophical" pluralism. On the "biological" side, I demonstrate the flexibility of application as well as the pluralism of the concept "living" following the description of ambiguous cases of biological entities coming from various hierarchical levels of complexity of life. In doing so, I defend a symbiotic and holistic view of organization of the living (allowing to include and articulate these various hierarchical levels). On the "philosophical" side, I demonstrate the pluralism of the "living" concept following an analysis that I will describe as disciplinary, ontological, linguistic and epistemological. In doing so, I defend a gradualist and operational position of the concept "living". Regarding practical issues, I am mainly exploring the discipline of synthetic biology, which has set itself the goal of building new living biological entities and thus the potential to contribute to the development of new knowledge about life. In doing so, I take the position that synthetic biology can provide pragmatic solutions (through the construction of functional living entities) to the pluralism of the concept "living". Finally, after an analysis of the relevant theories of knowledge associated with these issues, of stipulative definitions, as well as of living concepts stemming from synthetic biology, I develop my own model of the "living" (that I call biosynthetic), which is "pragmatic" (in agreement with the practice of synthetic biologists), "progressive" (adapting to future discoveries in the field), "holistic" (applying to all levels of organization of the living) as well as "minimalist and universal" (corresponding essential characteristics found within all living entities). This thesis will present “why” and “how” synthetic biology can provide an answer to the question “what is life ?”.

American composer David Kechley was profoundly impacted by a 1990 trip to the Ryoan-ji Temple in Kyoto, Japan. The composer describes the finely raked, small white stones in the midst of fifteen large rocks in the Japanese Zen garden as "planned randomness." Kechley's inaugural composition for saxophone-guitar duo, In the Dragon's Garden, reflects his experience at the Ryoan-ji Temple. The use of minimalistic compositional techniques without literal repetition in the work represents a departure from the first generation of Minimalist composers, such as LaMonte Young, Steve Reich, Phillip Glass, and John Adams. An analysis of minimalistic compositional elements, combined with an interview with the commissioning ensemble, the Ryoanji Duo, provides insights into the interpretation and preparation of this complex work. Furthermore, this document contains helpful information pertinent to the saxophone-guitar duo. Details on balance and amplification, orchestration, and collaboration with the composer will supply performers and composers with essential knowledge needed to participate in this growing musical medium.

This master's thesis deals with the construction of a new sports center in Brno region Za Lužánkami. The project comprehensively addresses the urban links, roads, parking and leisure facilities in a given area. At the area of a new sports facilities, which creates a field Za Lužánkama highly integrated sports and relaxation center, in direct relation to the park Lužánky. The thesis further elaborates on the level of architectural study of a newly created structures - Multifunctional hockey arena.

Ape Boards is my own newly formed label, which manufactures snowboards and kiteboards. For this thing I have proposed a substantial logotype, which has a function as a unifying element across the whole brand and designs boards. Website (www.apeboards.com). A first collection of snowboards and kiteboards from which I had made 7 pieces for a thesis. Designs do not 'mass' lust, because the objective is not a big production or promotion, but based on what I liked. From the minimalism through the color geometry to the gorillas, according to which the brand was named.

As artists continue the long and storied lineage of Landscape, are there aesthetic responsibilities that come with representing the forces that afford you the capacity to do so? As we delineate spaces into places, endless interconnectivity into knowable “systems”, and living matter into thing based taxonomies, who do these delineations serve and with what intentions do we proceed? My studio art practice explores what it means to give form to our Former—the Former being that from which we came, the here and now, our explicit ecological reality, the stuff of what we call nature. In this way, the Former consists of all the powers at play that unthinkingly formed the vital life-forces that afford us our perceptive and creative capacities, and in doing so, precede us chronologically. The primary questions my creative practice posits are therefore: what does it mean to give form to our Former through creative applications? In doing so, is it appropriate to assume that we are returning the favor?

Construite sur une analyse approfondie des archives de Robert Smithson, cette thèse réévalue la série des Nonsites (1967-1969) dans sa relation d'inspiration avec les Géosciences. Elle rappelle le contexte culturel des années soixante comme toile de fond pour l’inspiration de l’artiste et détermine l’envergure de son expertise dans le domaine des sciences. Des documents préparatoires inédits viennent éclairer son processus de création et la manière dont il formule ses œuvres complexes, à partir des sources géologiques, de l'information scientifique et de la muséographie. La relation entre arts et sciences apparaît centrale dans l’élaboration des Nonsites. Chaque œuvre de la série est ainsi rattachée à ses sources artistiques et scientifiques et révèle le moment historique de l’émergence de la sculpture post-minimale. Le jeu de l’espace muséal avec la tridimensionnalité est alors enrichi par le déploiement de strates d’informations contextuelles et crée les prémices d’une interaction nouvelle entre œuvre et spectateur.De plus, deux perspectives ouvertes sur un choix d'œuvres de Giuseppe Penone et Olafur Eliasson démontrent comment leurs démarches artistiques sont en résonance avec les préoccupations créatives de Smithson. Il est ainsi possible de problématiser l’expédition scientifique de terrain (et la manière de penser le territoire qui lui préexiste), ainsi que les agencements muséographiques en art comme en sciences comme sources déterminantes dans la confluence de l’art et des sciences. / Based on a thorough analysis of Robert Smithson's archives, this dissertation re-evaluates the Nonsites series (1967-1969) in its inspirational relationship with the Geosciences. It recalls the cultural context of the sixties as a backdrop for the artist's inspiration and determines the scope of his expertise in the field of science. Unpublished preparatory documents enlighten his creative process and the way he formulates his complex works from geological sources, scientific information and museography. The relationship between arts and sciences is central to the development of the Nonsites. Each work in the series is thus linked to its artistic and scientific sources and reveals the spectacular historical moment of the emergence of post-minimalist sculpture. The play between the museum space and three-dimensionality is then enriched by the deployment of layers of contextual information and provides the basis for a new interaction between viewer and artwork.In addition, two perspectives are drawn towards the work of Giuseppe Penone and Olafur Eliasson and demonstrate how their artistic approaches resonate with Smithson's creative concerns. It is thus possible to problematize the scientific field expedition (and the analysis of the territory, its prerequisite), as well as the museographic arrangements, as determining sources in the confluence of art and science.

1 Abstract A monograph on Jan Kotík (1916-2002) introduces both his art and theoretical work, it deals with a historical and cultural context of the now-defunct Czechoslovakia. Kotík's - an artist's, theoretician's, published author's, educator's - artwork enjoys a prominent position in the context of Czech art of the second half of 20th century. An art-historical assessment of artwork was based on Kotik's artwork inventory and on all the documentation on Kotik's life and art work archived in the Documentation Department of the Institute of Art History of the Academy of Sciences of the CR and in private archives in the CR and Berlin. The study is based on a method of organic combination of biographical data and art-historical data with quotation of Kotik's theoretical texts. An evolution of artist's work is demonstrated chronologically with the context to Czech and world art. The monograph includes chapters: "Father Pravoslav's Art Studio and Study Years", "Art Group 42", "Possibilities of Applied Art", "Painting-Object", "Stay in Berlin", "Returns".