A pesquisa intitulada Motivação Criadora e Recepção Estética no Espetáculo Re-Sintos da Muovere Companhia de Dança tem a seguinte indagação: Como operam as motivações criadoras e o processo de recepção de um espetáculo de dança contemporânea? O espetáculo escolhido para investigar o processo de criação e recepção traz o cruzamento das fronteiras entre a dança e o teatro, seja pela composição do elenco de bailarinos e atores, seja pela direção geral e cênica ter sido realizada, respectivamente, por Jussara Miranda e Jezebel de Carli, uma artista da dança e outra do teatro. Re-Sintos apresenta como características: a ênfase da não neutralidade facial; a utilização de elementos sonoros, ora produzidos pelos bailarinos, ora acompanhados pela trilha musical; a utilização de cenário, o uso de narrativa fragmentada; a utilização de diálogo com questões do cotidiano; por fim, valoriza a plasticidade do movimento corporal como principal fio condutor. Como modo de sistematizar e organizar a leitura, esta pesquisa é dividida em três capítulos: O capítulo I analisa como acontece a articulação entre a dança e o teatro no espetáculo Re-Sintos. O capítulo II verifica o que envolve o processo de recepção e como o espetáculo se oferece ao exercício receptivo. O capítulo III examina e apresenta o modo como opera a produção e a recepção do espetáculo Re-Sintos a partir de algumas características aproximativas do rizoma de Gilles Deleuze e Félix Guatarri. As características presentes no Re-Sintos retratam um modo de condução do trabalho, no qual se evidencia a presença de um caráter investigativo que tem como efeito a multiplicidade. Essa multiplicidade compreende as conexões, as rupturas e as contaminações consentidas pelo olhar questionador dos produtores num processo dinâmico de territorialização, desterritorialização e reterritorialização da criação. Quanto à recepção estética, observa-se que cada espectador articula os conhecimentos prévios, os sentidos plurais e paradoxais em linhas de segmentaridade e linhas de desterritorialização. Como a percepção produz constantemente conexões e desdobramentos, ao criar novos nexos e exigir sem cessar outros agenciamentos, os vínculos entre as motivações criadoras e a recepção estética são rizomáticos e não permitem ao espectador a identificação completa das fontes ou origens. / The research entitled Creative Motivation and the Aesthetic Reception at Re- Sintos Performance of Muovere Dance Company has a question: How creative motivations and receptive process operate in a contemporary dance performance? The performance chosen to investigate the process of creation and reception crosses the borders between dance and theater, either by the casting composition by dancers and actors or by the general and scenic direction done, respectively, by Jussara Miranda and Jezebel de Carli, a dance artist and a theater artist. Re-Sintos has as characteristics: the emphasis of the non-facial neutrality; the utilization of sound elements, be it produced by the dancers or accompanied by the musical track; the scenery presentation; the use of the fragmented narrative; the utilization of dialogue with daily subjects; at least, values the corporal movement plasticity as its principal thread. As a way to systematize and organize the reading, this research is divided in three chapters: Chapter I analyses how the articulation between dance and theater happens at the Re-Sintos performance. Chapter II verifies what involves the reception process and how the performance offers itself to the receptive exercise. Chapter III examines and presents the way how the production and the reception of the Re-Sintos performance operate from some approximate characteristics from Gilles Deleuze and Félix Guattarri's rhizome. The features presented in Re-Sintos portray a conduction way of the work, which shows the presence of an investigative character that has the multiplicity as its effect. This multiplicity comprehends the connections, ruptures and contaminations consentied by the questioning way of look of the producers in a dynamic process of the creation's territorialization, deterritorialization and reterritorialization. About the aesthetic reception, it is observed that each spectator articulates its prior knowledge, the plural and paradoxical feelings in lines of segmentarity and lines of deterritoriamization. As the perception produces constantly connections and consecutive developments, when it creates new connections and demand without ceasing other agency the links between the creative motivations and the aesthetic receptions are rhizomatous and do not allow the spectator the full identification of the sources or origins.

Esta dissertação associa a cerâmica às novas tecnologias do computador objetivando a criação de um CD-ROM híbrido. Trabalho que se realiza na construção de uma grande rede tramada com a poética da terra, dos devaneios da matéria, da massa e do fogo, do laborioso jogo do fazer com as mãos, com a poética do virtual, da extensão do corpo, do caminho labiríntico que se desdobra em muitas possibilidades no instante de um clicar eletrônico. Ao longo do desenvolvimento deste CD-ROM, imagens poéticas estarão entrelaçadas às informações e conhecimento científico sobre o assunto. A partir do conceito de trama é desenvolvida, com registros fotográficos e em vídeos, uma pesquisa pessoal com o material cerâmico em ateliê. Imagens destes trabalhos são utilizadas ao longo da construção do objeto CD-ROM assim como a de outras produções. Neste CD apresentam-se alguns profissionais brasileiros, que utilizam a cerâmica como suporte para sua expressão plástica, seus trabalhos, além de diversas técnicas e processos deste fazer. Todo o conteúdo informativo poderá ser acessado e enriquecido através da interatividade possibilitada pela hipermídia. Trata-se, portanto, de um trabalho que enfoca o individual e o coletivo. Utilizou-se para este desenvolvimento conceitos da área da comunicação e informática, tais como multimídia, hipermídia, hipertexto, interatividade, labirinto e rizoma, entre outros. / This issues associated with ceramic to the new technologies of computer and its goals on the creation of a hybrid CD-ROM. This work takes place in the construction of a great net schemed with the poetic of the earth, of the fantasy of the matter, of the mass and of the fire, the laborious game of doing with hands, with poetic of the virtual, of the extension of the body, of the labyrinth road that is unfolded in a lot of possibility in the moment of electronic clicks. Along the development of this CD-ROM, poetic of images will be interlaced to the information and scientific knowledge on the subject. It starts from the plot concept and it is developed with photographic registration and video, also with a personal research with the ceramic material in atelier. Image of these works have been used along the construction of this CD-ROM, as well as one of another productions. In this CD there are some Brazilians professionals that use the ceramic as support for its plastic expression in their works, besides several techniques and processes of this. The whole informative content can be accessed and enriched, through the integrate possibility for the hypermedia. It is, therefore, a work that focuses the individual and the collectively. It was used for this development several concepts of the area of the communication and computer science as multimedia, hypermedia, hypertext, interactive, labyrinth and rhizome among others.

No description available.

Discoveries revolving around false hellebore (Veratrum californicum Durand) have caused a paradigm shift in treatment from eradication to harvest and preservation. Test plots set in place 18 years ago to analyze the effectiveness of eradication treatments (tilling, herbicide, mow, and remow) give us a better idea of how false hellebore communities might respond to disturbances caused by harvest. We focused mainly on the tilling, mow, and remow treatments because of similarities to harvest techniques.We found that mow and remow treatments have little effect on the population of false hellebore in the wild. Tilling treatments were effective in reducing the population dramatically; however some recovery in numbers has taken place. Tilled plots showed a significant decrease in mid seral plant populations, and a significant increase in early seral populations. Tilled treatments were also opened up to intermediately desirable and undesirable plants. Mow and remow treatments reacted similarly to each other, with mow treatments showing decreases in mid seral species and with both treatments showing neither an increase nor a decrease in the other seral stages. Mow and remow plots showed a decrease in desirable plants, but an increase in intermediately desirable plants and no increase in undesirable plants. Greenhouse experiments were unsuccessful due to phenological disruptions caused by removal from the native habitat as well as climate and temperature differences.

The United States has an abundant stock of naturalized wild growing bamboo species that are generally considered invasive. This project explores the use of locally harvested, so called “invasive” bamboo as a potential building material incorporated into a modular, kit-of-parts style construction system. These structures are uniquely suited to address the need for expanded spaces and extensions that bridge between the strictly indoor vs. outdoor distinction of existing buildings, as revealed by the Covid-19 pandemic. The rhizomatic mechanism of spread that is characteristic of bamboo species is used as the framework to propose a tectonic system that is decentralized, adaptable, and deployable. Drawing on a series of formal explorations, this system is further developed through a case study proof of concept design for Morningside Elementary School in Atlanta, GA, by supplementing, expanding, and adapting the existing facilities for eating, gathering, recreation, and learning to address the requirements of a Covid-19 safe school environment and to propose an ongoing outdoor learning program.

Canna edulis, une plante amylacée pluriannuelle, de la famille Cannaceae, originaire d'Amérique du Sud, accumule de l'amidon dans son rhizome. L'objectif des travaux de thèse est d'étudier la culture du Canna à La Réunion en fonction des conditions pédoclimatiques et des saisons avec caractérisation de la qualité des rhizomes selon ses stades de développements. Sept parcelles expérimentales sont suivies sur deux sites contrastés : la Plaine des Palmistes et Bassin Plat. Tout au long de la croissance des plants, des données sont enregistrées sur la qualité des sols, la pluviométrie, les températures moyennes, et le rayonnement pour caractériser les sites. Des indicateurs de stades de développements sont suivis pour informer de l'état de maturité des plants et évaluer l'effet des conditions pédoclimatiques sur leur développement. Des échantillonnages réguliers sont réalisés pour caractériser le développement et la composition des rhizomes mais également les propriétés technologiques et intérêts nutritionnels en fonction de leurs maturités. C'est ainsi que des dosages d’amidons, de sucres libres, en lien avec la viscosité et la gélatinisation, de même que les teneurs en composés phénoliques et leur activité antioxydantes, ont été évalués sur plusieurs types de produits intermédiaires : rhizomes lyophilisés, amidons ou fibres alimentaires. Outre son caractère innovant dans le domaine des procédés d'extraction d’amidon à forte valeur ajoutée, la particularité de ce travail de thèse réside dans le fait qu'il s'inscrit dans le cadre plus vaste de mise en place de la filière Canna et de sa valorisation agronomique, technologique et nutritionnelle. / Canna edulis, is a multiannual plant, from the Cannaceae family, originating from South America, that accumulate starch in its rhizome. This thesis work aims to study Canna’s culture on Réunion Island depending on soil, climate and season specificities using rhizome quality changes depending on the plants development stages. Seven experimental crops were followed at two contrasted sites: La Plaine des Palmistes and Bassin Plat. During plant growth, soil quality, rain, mean temperatures and solar radiation data were collected in order to characterize the planting locations. Development stage indicators were monitored to enlighten plants maturity status and evaluate soil and climate effects on their development. Regular samplings were scheduled to characterize the rhizomes development and composition but also their technological properties and nutritional interests as influenced by their maturity. Thus, starch, free sugars, viscosity, gel formation properties as well as phenolics contents and their antioxidant activities were evaluated on several intermediate products namely freeze-dried rhizomes, starches and dietary fibers. Besides its innovative nature on the high-valued starch extraction process field, this thesis particularity relies on the fact that it is integrated in the wide project of Canna culture settlement and its agronomic, technologic and nutritional enhancement.

Cette étude a pour but premier de repenser la relation entre Dubliners et les mots « paralysis », « gnomon » et « simony » figurant dans le premier paragraphe de « The Sisters ». Dans la mesure où la critique les a abordés suivant divers actes de centralisation, dé-centralisation et re-centralisation du recueil de Joyce, le concept de rhizome, tel qu'exposé par Deleuze et Guattari dans Mille Plateaux, peut être un modèle pertinent pour présenter la variation des rapports de territorialité entre l’œuvre et ces trois mots. A l'issue de cette étude, ces derniers se voient attribuer des statuts successifs qui remettent en question la notion de centre ou de noyau structurel (l'arborescent). L'architecture de cette étude est la suivante : trois mouvements rhizomatiques reflétant la faculté de ces mots à autoriser sans cesse des constructions, effondrements et reconstructions du territoire textuel, à savoir la territorialisation, la déterritorialisation et la reterritorialisation. Cette démarche de type ritournelle aboutit ainsi à la reconnaissance de l'irréductibilité de l'écriture de Joyce dès ses premiers écrits. / This study aims primarily at re-thinking the relationship between Dubliners and the words "paralysis", "gnomon", and "simony" which appear in the very first paragraph of "The Sisters". Given that critics have approached them following patterns leading to the centering, de-centering and re-centering of Joyce's collection, the concept of rhizome, as developed by Deleuze and Guattari in A Thousand Plateaus, can be a relevant tool to present the variation of territoriality relationships between the work and the three words. At the end of this study, the latter are granted successive statuses, which challenge the idea of a structural center or core (the arborescent). The framework of this study is as follows: three rhizomatic movements illustrating the capacity of these words to allow for endless building, collapsing, and re-building of the textual territory, namely territorialization, deterritorialization, and reterritorialization. This ritournelle style approach leads to the identification of Joyce's irreducible writing technique in his early period.

Nous interrogeons à La Réunion, dans une perspective écologique fondée sur la théorie du rhizome et la philosophie du réseau, la marge de négociation des politiques linguistiques par les enseignants. Pour cela, nous avons opté pour une enquête qualitative et privilégié l’approche ethnographique et l’analyse critique du discours de classe. Les résultats montrent que, parmi les trois hypothèses proposées, celle concernant l’impact des activités d’éveil aux langues sur la prise en compte des langues des élèves comme ressources pour toute la classe se trouve confirmée, dès lors qu’elle donne lieu au développement de stratégies de translanguaging à visée de transformation sociale plus qu’à des stratégies compensatoires engendrées par une vision « langue-problème ». L’étude conclut à la priorité d’axer la formation d’enseignants sur une initiation à la recherche ethnographique dans le cadre d’ateliers sociodidactiques ayant pour finalité le développement d’une conscience critique du langage. / We question – from an ecological perspective here based on rhizome theory and the philosophy of network – the extent to which teachers in Reunion Island negotiate language policies through their implementation of plurilingual education. On the methodological level, we opted for a qualitative survey and an ethnographic approach as well as a critical analysis of classroom discourse. The results show that, among the three hypotheses proposed, the one concerning the impact of language awareness activities upon the mobilization of school students’ languages as resources for the whole class is confirmed, provided that it gives rise to the development of translanguaging and social transformation strategies more than compensatory strategies generated by a language-problem-vision. The study concludes on the priority to focus teacher training on an introduction to ethnographic research in sociodidactic workshops which purpose would be the development of a critical awareness of language.

Dans ce mémoire, nous présentons la notion de placage développée par DaryushShayegan. Le placage lie dans un espace interépistémique deux épistémès (tradition et modernité) hétéromorphes. Puisque les deux épistémès ne peuvent être mises en relation sans réduction, leur chevauchement aboutit à des distorsions. En adoptant une posture d’herméneute, nous mettons à nu les structures du texte qui définissent la notion de placage. Puis, nous nous interrogeons sur les « implications non claires », ces aprioris de l’auteur qui marquent le texte. Ce processus nous amène à définir la notion de paradigme (Kuhn), celle d’épistémè (Foucault) et de saisir quelle utilisation en fait DaryushShayegan dans la construction du placage. Dans la seconde partie, nous discutons la problématique de la hiérarchisation des épistémès. Alors que la position de DaryushShayegan comporte des relents de néo-orientalisme, nous voyons que les approches rhizomique et traditionaliste dissolvent la problématique en question. / In this thesis, we present the notion of grafting developed by DaryushShayegan. In an inter-epistemic space, grafting links two heteromorphic epistemes (tradition and modernity). As both epistemes cannot be equated to one another without first diluting them, any overlapping characteristics that might emerge will be distorted. By assuming the guise of hermenauts, we strip to the core the structures of the text that define the notion of grafting. We then examine the “non-clear implications”, the author’s preconceived notions that permeate the text. This process forces us to define the notions of paradigm (Kuhn) and of episteme (Foucault), and to grasp how the author utilizes them to construct the notion of grafting. In the second part, we discuss about hierarchical relations between both epistemes. Even though DaryushShayegan’s position contains elements of neo-orientalism, we see that the rhizomic and traditionalist approaches dissolve the problem at hand.

Ce travail de thèse présente une recherche sur l’art de la performance et ses implications esthétiques, politiques, éthiques, cognitives et subjectives dans le contexte artistique et culturel de la tradition anthropophagique brésilienne à l’époque où la performance émerge en tant que genre artistique dans les années 1960-1970. Face à de telles implications, l’art de la performance manifeste non seulement un processus d’hybridation des genres artistiques et des rapports entre artiste, œuvre, spectateur, mais aussi une toute autre forme d’existence, un devenir hybride. En tenant compte que « l’hybride » serait un paradigme qui dépasse l’ère de la signification et assume une tendance hégémonique et acritique dans le monde instauré par la modernité occidentale, nous nous interrogeons sur les contributions critiques et les enjeux du processus de devenir hybride dans l’art de la performance et dans la culture face aux mécanismes qui bloquent des nouveaux modes de sentir et de production de la subjectivité.Pour développer ces articulations, nous prenons surtout appui sur la pensée esthétique de Deleuze-Guattari ; l’approche psychodynamique de la subjectivité et ses modes sensibles d’aborder l’altérité dans la pensé de Suely Rolnik ; la reformulation de la tradition anthropophagique selon Le Manifeste Anthropophage d’Oswald de Andrade ; et la théorie sur le perspectivisme et le mythe amérindiens de l’anthropologue Viveiros de Castro. En ce sens, en faveur d’une intensification de la puissance critique du corps et d’autres modes d’existence dans le rapport à l’hybridité du monde, nous proposons de penser l’art performatif comme un paradigme hybride d’une modernité autre. Le mode de création, de résistance et de connaissance du performeur présente une attitude critique et une dynamique hétérogénétique, d’alter-action de lui-même et du monde, qui est assez semblable à celle de l’ancienne matrice anthropologique de l’anthropophagie. Le performeur affirme donc la possibilité d’émergence d’une modernité autre, liée peut-être à un autre type de monde hybride, un monde animiste et complètement anti-monothéiste, qui comprend la vie comme dévoration, comme immanence du danger et imminence du sens, monde où la solidarité sociale se définit en altérité et où la forme indigène du cogito serait « cela existe, donc cela pense ». / The following thesis is a research about the art of performance in its aesthetic, political,ethical, cognitive and subjective implications; within the Brazilian anthropophagy tradition’s artistic and cultural context in the period when the art of performance emerges as an artistic genre, in the sixties and seventies. Faced with such implications, the art of performance not only indicates a process of hybridization of artistic genres and the relations between artist, work and spectator; but also indicates a whole different way of existence: « becoming-hybrid ». Defining « hybrid » as an intruder paradigm who overcomes the age of signification, one that assumes a hegemonic and uncritical trend in the world established by Western modernity; we ask ourselves about the critical contributions and challenges of becoming-hybrid in the art of performance and in the culture, especially considering the mechanisms that blocks the new ways of feeling and of production of subjectivity.To develop this discourse, we lean foremost on the concept of: the esthetic ideas of Deleuze-Guattari; the psychodynamic approach to subjectivity and the sensitive ways to deal with the otherness of thought of Suely Rolnik; the reformulation of the anthropophagic tradition according to the Anthropophagous manifesto by Oswald de Andrade; the theory of perspectivism; and the Amerindian myth by the anthropologist Viveiros de Castro. In this sense, in order to increase the critical power of the body and other ways of existence concerning the hybridization of the world, we propose the thinking of performing art as a hybrid paradigm of some another modernity. The way of creation, the resistance and the knowledge of the performer show a critical attitude and a heterogenetic dynamic, an alter-action of himself and of the world itself, which is very similar to the old anthropological matrix of anthropophagy. The performer, then, affirms the possibility of the emergence of another modernity, possibly linked to another kind of hybrid world, an animistic and completely anti monotheist world, which understands life as devouring, as immanence of the danger and imminence of the meaning. A world where social solidarity is defined by otherness and where the indian cogito would be « it exists, therefore it thinks ».