Este trabalho tem por objetivo investigar o significado das obras de arte pública permanentes, comissionadas pela 5.ª Bienal do Mercosul, em Porto Alegre, entre 2004 e 2006, sob o prisma das questões da site-specificity e/ou place-specificity. As esculturas de Mauro Fuke, José Resende, Carmela Gross e Waltercio Caldas, são tomadas como estudo de caso para a discussão dessas questões, ou seja, para investigar as possibilidades de transformação de um local (espaço físico) em lugar (local dotado de significados), por meio de obras de arte projetadas especificamente com esse objetivo. / The paper aims at searching for the meaning of perennial public artworks done under the 5th Mercosul Biennial (Porto Alegre, 2004-2006) order, looking at the issues of site-specificity and/or place-specificity. Mauro Fuke, José Resende, Carmela Gross and Waltercio Caldas’s sculptures are the case study for the debate of such issues. Investigating the possibility of transforming spaces into sites through the placement of artworks produced for that purpose.

Exploring both political aesthetics and the politics of aesthetics to outline an environmental ruralism for art in public spaces, this practice lead research project postulates a “complemental practice”, outlining its methodology and contexts for operation, the rural, spaces of leisure and the public realm. It is a response to threats to spatial and environmental commons from heritage, place-making and nostalgia, psychological inhibition such as a sense of global contingency and widespread economic exploitation. Responses by artists to this situation can be characterised as a binary of dialogism (Kester, 2004) and relational antagonism (Bishop, 2004), i.e. consensual/collaborative or antagonistic/autonomous practices. Informing both is the work of Jacques Rancière who theorises an ethical and social turn in the arts. Through both commissioned and self-initiated projects this thesis offers an interpretation of Jacques Rancière’s conception of dissensus (Rancière, 2010) modulated through an application of the work of philosopher Slajov Žižek on environmental politics and complementarity - the inscription of the universal within the particular (Žižek, 2011). The thesis’ originality lies in this theoretical synthesis which sets out a complemental practice based on dissensus and the undecidability of subject and context, but which dismisses any inflexible schema of either aesthetic autonomy or ethico-political egalitarianism. In addition it suggests an approach to practice in this field and a situation for this - a dissensual infrastructure for the common public realm which is socially relational and evolutionary over time.

La ciné-danse est une forme artistique hybride qui entrelace étroitement les propriétés techniques et esthétiques de la danse et du cinéma. Ce n’est pas un genre nouveau: d’une certaine manière, la ciné-danse existe depuis les tout débuts du cinéma. Mais elle est théorisée pour la première fois au milieu des années 1940 par Maya Deren qui propose aussi avec A Study in Choreography for Camera (1945) un film-manifeste qui s’est avéré déterminant pour la reconnaissance et le développement decette catégorie la plus transdisciplinaire du film de danse.Néanmoins, c’est seulement à partir des années 2000 etsurtout depuis le début des années 2010 que les festivals spécialisés se sont multipliés et que le genre a commencé à recevoir un éclairage théorique. Cette thèse contribue ainsi à ce tout jeune domaine de recherche que sont les screendance studies en proposant un premier panorama historique de la ciné-danse et en examinant certaines de ses spécificités formelles et dramaturgiques dont beaucoup n’avaient pas encore été analysées.Cette étude prend notamment le parti d’explorer la ciné-danse sous l’angle inaperçu de son hyper-sensorialité et des corporéités originales qu’elle façonne.J’y commence par retracer l’histoire plus large dans laquelle la ciné-danse s’inscrit, celle de la danse au cinéma en général et du film de danse en particulier. Puis,je propose d’esquisser plus spécifiquement l’histoire du genre. Je souligne ensuite la fécondité de l’hybridation artistiquequi définit la ciné-danse en analysant certaines de ses singularités formelles et dramaturgiques. J’examine notamment l’usage sui generis du gros plan dans ces films, la (re)matérialisation des corps à laquelle ils procèdent par un traitement hyper-sensoriel et synesthésique des images et des sons ainsi que les corporéitésétranges qu’ils créent et les implications critiques que celles-ci renferment. Enfin, je me concentre sur un aspect capital de la ciné-danse : les lieux qu’elle investit et les rapports complexes entre corps et espaces qu’elle interroge. Cette thèse brosse ainsi le portrait historique et esthétique d’un art hybride, d’un genre éminemment corporel et sensoriel et d’une pratique in situ. J’y mets au jour des oeuvres expérimentales qui explorent la capacité de ce croisement artistique à mettre en exergue la matérialité des corps ainsi que la sensorialité des films et de l’art chorégraphique. / Screendance is a hybrid artistic form which inextricably interweaves the technical and aesthetic properties of both dance and cinema. It is not a new genre: in a certain sense, screendance has existed since the very beginnings of cinema. It was first theorised, however, in the mid-1940s by Maya Deren, whose film-manifestoA Study in Choreography for Camera (1945) proved central to the recognition and development of this most transdisciplinary category of dance films. Nevertheless, it is only from the 2000s and even more-so from the 2010s onwards that specialisedfestivals have proliferated and that the genre has begun to receive theoretical attention. This dissertation is thus a contribution to the emerging field of screendance studies: it proposes a historical panorama of the genre and examines its formal and dramaturgical specificities, many of which have not yet been the object of in-depth analysis. This examination aims in particular to explore screendance from the previously unconsidered perspective of its hyper-sensoriality and the originalcorporealities it constructs.I begin by retracing the larger history within which screendance has grown that of dance in film and especially that of dance films. I then propose a more specific history of screendace proper. Next, I emphasise the fecundity of the artistic hybridisation which defines screendance by analysing certain of its formal and dramaturgical singularities. More specifically, I examine its sui generis usage of closeups, its (re)materialisation of bodies through a hyper-sensorial and synaesthetic treatment of images and sounds, as well as its strange corporealities and the critical implications they suggest. Finally, I focus on a crucial dimension of screendance: the places it investigates and its complex interrogations of the relationships between body and space. This dissertation paints a historical and aesthetic portrait of a hybrid art, an eminently corporeal and sensorial genre, a site-specific practice; it celebrates experimental works which explore the richness of an artistic cross-over and highlight the materiality of bodies as well as the sensoriality of dance and film.

La presente tesis está dividida en un bloque teórico y un bloque práctico. En la parte teórica se realiza un estudio referencial, análisis y discusión de una serie de creaciones artísticas pertenecientes a la época de los años 60 y 70 mayoritariamente en EE UU y minoritariamente en Europa, que hacen uso de la imagen en movimiento monocanal y el cuerpo en acción en la naturaleza con carácter site-specific. En la parte práctica se realiza una obra videográfica que trabaja a partir de los mismos elementos de las obras de estudio desde un punto de vista actual y dentro de la línea de creación personal de la autora, aportando temáticas, motivaciones, procesos creativos y recursos formales que complementan y dan continuidad a la investigación teórica, al tiempo que enriquecen la línea de trabajo personal. Por lo que hemos podido comprobar, no tenemos constancia de que se haya realizado una investigación que analice y compare las distintas aproximaciones a las obras de nuestro estudio desde un punto de vista unitario, sino que han permanecido consideradas como piezas aisladas en muchos casos, dentro de las trayectorias de los propios artistas y sin atender al denominador común que todas ellas comparten. En el bloque teórico se acota el marco conceptual que delimita la temática a la que nos enfrentamos, a la vez que se muestra un recorrido por los puntos más importantes de la investigación, claves a la hora de analizar, discutir y concluir acerca de las creaciones. Estos puntos son los siguientes: La naturaleza como lugar; el cuerpo en acción: performance y danza site-specific; y la imagen en movimiento: cine y vídeo monocanal, entre testimonio y creación. Una vez aplicado el marco teórico, se acomete un estudio referencial que aborda el contexto artístico de la época, una serie de obras periféricas en relación con la investigación, y finalmente las obras destacadas de la tesis. Se realiza un visionado y un análisis completo de las obras destacadas a través de una metodología de análisis creada específicamente en esta investigación para este tipo de piezas. Y se concluye con una discusión que profundiza en el estudio transversal de las obras, el marco teórico, el contexto y las periferias, poniendo a disposición de la comunidad investigadora una visión inédita sobre estas creaciones, y una serie de conclusiones novedosas acerca de la temática. / Ontiñano Abadías, MC. (2014). Cuerpo en acción, imagen en movimiento y naturaleza en el arte de EE UU y Europa durante los años 60-70, con caracter site-specific. Estudio referencial, análisis y proyecto personal [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/36868 / TESIS

Text in English, with summaries and keywords in English, Sesotho and Afrikaans / This study is an enquiry into how The educator’s new clothes by Mark Rautenbach is an example of site-specific art. The aim is to demonstrate how boundaries in TENC become blurred between site-specific performance, other art forms, and every-day activities. The key concepts explored are: Rautenbach’s approach to the concept of site, the connections that develop between his performance and each site that he travels to; his use of the art gallery and viewer participation. Through literature study relevant theory is explored, and several arguments are applied in a selective manner to my analysis of TENC. Various International and South African site-specific artworks are discussed as an indication of how site-specificity can be applied in alternative ways. In October 2017 I installed GREENER?, a site-specific exhibition in the UNISA Art gallery. The works on the show underline the theoretical findings and highlight the flexible application of theory relating to site-specificity. / Dinyakišišo tše ke phatišišo mabapi le seo se dirago bokgabo bja The educator’s new clothes (TENC) ka Mark Rautenbach go ba mohlala wa bokgabo bja lefelong le itšego. Maikemišetšo ke go laetša ka fao ka go TENC mellwane magareng ga mošomo wa ka lefelong le mehuta ye mengwe ya bokgabo le mediro ya ka mehla di thomago go se sa bonagala gabotse. Mareo ao a šomišwago ke: mokgwa wa Rautenbach go kgopolo ya lefelo, dikgokagano tše di hlamegago magareng ga phethagatšo ya ya gagwe ya mošomo le lefelo le lengwe le le lengwe leo a yago go lona, tšhomišo ya gagwe ya kalari ya tša bokgabo le go kgatha tema ga babogedi. Ka go diriša dingwalwa teori ya maleba e a utollwa, gomme dintlha tše mmalwa di a dirišwa ka mokgwa wa go kgetha go tshekatsheko ya ka ya TENC. Mešomo ya bokgabo ya ka lefelong le itšego ya mehutahuta e a ahlaahlwa bjalo ka kutollo ya ka fao bokgabo bja ka mafelong bo ka dirišwago ka ditsela tše dingwe. Ka Oktoboro 2017 ke hlomile GREENER?, e lego pontšho ya bokgabo ya ka lefelong le itšego, ka Kalaring ya Bokgabo ya ka Unisa. Mešomo ye e bontšhitšwego e laeditše dikutollo tša teori le go laetša tirišo ye e fetogago ya teori mabapi le mešomo ya bokgabo ya ka lefelong le itšego. / Hierdie studie behels ʼn ondersoek na wat van The educator’s new clothes (TENC) deur Mark Rautenbach plekspesifieke kuns maak. Die oogmerk is om aan te toon hoe die grense tussen plekspesifieke uitvoering, ander kunsvorme en daaglikse bedrywighede vervaag. Die kernkonsepte wat verken word, is Rautenbach se beskouing van die konsep van plek, die verband tussen sy uitvoering en elke plek waarheen hy reis, sy aanwending van ʼn kunsgalery, en kykerdeelname. Die tersaaklike teorie word aan die hand van ʼn literatuurstudie verken, en ʼn aantal argumente word op selektiewe wyse op my ontleding van TENC toegepas. Verskeie internasionale en Suid-Afrikaanse plekspesifieke kunswerke word bespreek as ʼn verkenning van hoe plekspesifisiteit op ander maniere toegepas word. Ek het in Oktober 2017 ʼn plekspesifieke uitstalling met die titel GREENER? in die Unisa Kunsgalery gehou. Die werke wat uitgestal is, onderstreep die teoretiese bevindings en vestig die aandag op die buigsame toepassing van die teorie in verband met plekspesifisiteit. / Art History, Visual Arts and Musicology / M.V.A.

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Recombinant proteins have many medical and industrial applications, but their use is complicated by commercial production and stability constraints. These issues are particularly challenging for recombinant proteins used in pharmaceutical therapeutics and clinical diagnostics. Expensive production and distribution limit the accessibility of therapeutics and diagnostics especially in the developing world. Additionally, clinical use of recombinant proteins face further challenges within biological systems including biological degradation and immunogenicity. To increase the accessibility of recombinant proteins, the cost and inefficiencies of protein manufacturing and distribution need to be significantly reduced. A powerful tool to aid in this endeavor is cell-free protein synthesis (CFPS) technology. CFPS is a versatile platform for recombinant protein production due to its open reaction environment, flexible reaction conditions, and rapid protein expression capabilities. These avoid the disadvantages of conventional manufacturing and present the capability of on-demand protein therapeutic production outside of centralized facilities. To improve the efficacy of recombinant proteins for medicinal use, protein engineering techniques such as PEGylation, or the conjugation of PEG polymers to protein surfaces, can be employed. PEGylation is widely used to enhance the pharmacokinetic properties of protein therapeutics. Deciphering optimal PEG conjugation sites is a continuing area of research that can be facilitated by CFPS systems that enable high-throughput, site-specific PEGylation. This dissertation presents advances in CFPS technology to promote increased accessibility and stability of life-saving therapeutics and diagnostics. The work presented here (1) improves on-demand therapeutic production capabilities by creating shelf-stable, endotoxin-free CFPS systems, (2) aids the rational design of next-generation PEGylated protein therapeutics through an in silico-in vitro CFPS screening platform, and (3) advances the development of portable clinical diagnostics for rapid and sustainable deployment at point-of-care through CFPS biosensor technology. The innovations of this dissertation are described in four publications. Specifically, an endotoxin-free CFPS system lyophilized with lyoprotectants is demonstrated that shows improved shelf-stability over standard lyophilized systems. A streamlined procedure for preparing endotoxin-free extract using auto-induction media is presented that significantly reduces CFPS preparation labor and time. A combinatorial screening approach is demonstrated in which coarse-grain molecular simulation informs PEGylation site selection as verified by CFPS experimental results. An inexpensive paper-based, saliva-activated CFPS biosensor platform is developed for the detection of SARS-CoV-2 sequences.

This study investigates how water is depicted in contemporary public art in Sweden, a country surrounded and built by water, and how it reflects in the art. The essay is based on Rosalind Krauss’ sculpture theory and examines how a mythical and vital substance like water is depicted and what its underlaying meaning is in three contemporary public sculptures; Till minnet av en älv (2020) by Anja Örn, Passage (2011) by Katarina Löfström and Hiljainen vesi /Tyst vatten (2019) by Laura Könönen. The study investigates if any mutual patterns can be seen and if so which, and how the relationship between the sculptures and their spatial context can be described based on Rosalyn Deutsches notion assimilative and divisive. Through analyses and comparison of the three sculptures it has emerged that water in all three public artworks stands as a metaphor for something else, here in form of the consequences of hydropower, the impermanence of time and minorities’ feeling of exclusion and community. Over these serious topics lies too a sense of melancholia. A common interest for the nature also appears and mainly because the artists have chosen to depict water even when it symbolizes something else. But the interest in nature also appears when two of the sculptures is made from natural rock and its characteristics. Furthermore, the study indicates that, despite the complexity in defining a public artwork as place-specific or placeless, all three of the sculptures have a connection with the place. The sculptures can therefore perceive as assimilative although to varying degrees and with element of divisive tendencies.

The predominant tool for adaptation in Gram-negative bacteria is a genetic system called integron. It rearranges gene cassettes, promoting multiple antibiotic resistances, a recognized major global health threat. It is based on a unique recombination process involving a Tyrosine recombinase – called integrase IntI – and folded single-stranded DNA hairpins – called attC sites. Four recombinases and two attC sites form a macromolecular synaptic complex, which is key to the entire recombination process and the focus of our study. The bottom strand of all attC sites shows highest recombination in vivo, however, it still varies greatly and the underlying reason is unknown. We hypothesize that the difference in recombination efficiency arises from the variable mechanical stability of the synaptic complex, which in turn is affected by the attC site. Here, we established an optical tweezers force-spectroscopy assay that allows us to probe the synaptic complex stability for different DNA substrates and protein variants. We discovered a strong correlation between recombination efficiency and the mechanical stability of the synapse, indicating a regulatory mechanism from the DNA sequence to the quaternary complex structure stability. We have discovered protein residues interacting with the DNA in trans, within the synaptic complex, which reduces its stability. Furthermore, we discovered that the C-terminal helix, a conserved structural feature of tyrosine recombinases plays a key role in the stabilization of the tetramer assembly on the DNA, which upon mutation significantly destabilized the synaptic complex. Expanding upon this new understanding of synapse stability regulation we developed a novel approach for destabilizing the synaptic complex, potentially reducing the recombination efficiency. We designed α-helix mimicking peptides that would compete with the C-terminal tail of the integrase, block the interlocking interaction, and lead to synaptic complex destabilization. We have observed a prominent destabilizing effect on the synaptic complex already at 10 µM peptide concentration. Overall, our findings reveal new regulatory mechanisms in the recombination efficiency of the bacterial integron and provide first data for the active synapse destabilization mechanism. This novel understanding of the regulatory role the synaptic complex plays in the recombination efficiency of the integron system introduces a new approach to reduce the spread of antibiotic resistance among bacteria. / Das vorherrschende Anpassungsmittel bei gramnegativen Bakterien ist ein genetisches System, das Integron genannt wird. Es ordnet Genkassetten neu an und fördert so multiple Antibiotikaresistenzen, die eine globale Gesundheitsbedrohung darstellen. Es basiert auf einem einzigartigen Rekombinationsprozess, an dem eine Tyrosin-Rekombinase - Integrase IntI genannt - und gefaltete einzelsträngige DNA-Hairpins - attC-Stellen genannt - beteiligt sind. Vier Rekombinasen und zwei attC-Stellen bilden einen makromolekularen synaptischen Komplex, der für den gesamten Rekombinationsprozess entscheidend ist und im Mittelpunkt unserer Forschung steht. Der untere Strang aller attC-Stellen weist in vivo die höchste Rekombinationsrate auf, die jedoch aus unbekannten Grund stark variier. Wir vermuten, dass der Unterschied in der Rekombinationsrate auf die unterschiedliche mechanische Stabilität des synaptischen Komplexes zurückzuführen ist, die wiederum von der attC-Stelle beeinflusst wird. Hier haben wir einen Test mittels Kraft-spektroskopie mit einer optischen Pinzette entwickelt, mit dem wir die Stabilität des synaptischen Komplexes für verschiedene DNA-Substrate und Proteinvarianten untersuchen können. Wir stellten eine starke Korrelation zwischen der Rekombinationsrate und der mechanischen Stabilität der Synapse fest, was auf einen Regulationsmechanismus zwischen der DNA-Sequenz und der Stabilität der quaternären Komplexstruktur hinweist. Wir haben Proteinreste entdeckt, die innerhalb des synaptischen Komplexes mit der DNA in trans interagieren, was zu einer Verringerung dessen Stabilität führt. Darüber hinaus stellten wir fest, dass die C-terminale Helix, ein konserviertes Strukturmerkmal von Tyrosin-Rekombinasen, eine Schlüsselrolle bei der Stabilisierung des Tetramer-Aufbaus an der DNA spielt, die bei Mutation den synaptischen Komplex erheblich destabilisiert. Auf der Grundlage dieses neuen Verständnisses der Regulierung der Synapsenstabilität haben wir einen neuen Ansatz zur Destabilisierung des synaptischen Komplexes entwickelt, der die Effizienz der Rekombination verringern könnte. Wir entwarfen α-Helix-nachahmende Peptide, die mit dem C-terminalen Ende der Integrase konkurrieren, die Interlocking-Interaktion blockieren und zur Destabilisierung des synaptischen Komplexes führen. Wir haben eine deutliche destabilisierende Wirkung auf den synaptischen Komplex bereits bei einer Peptidkonzentration von 10 µM beobachtet. Insgesamt zeigen unsere Ergebnisse neue Regulationsmechanismen für die Rekombinationsleistung des bakteriellen Integrons auf und liefern erste Daten für den Mechanismus der aktiven Destabilisierung der Synapse. Dieses neue Verständnis der regulatorischen Rolle, die der synaptische Komplex bei der Rekombinationseffizienz des Integronsystems spielt, eröffnet einen neuen Ansatz zur Verringerung der Verbreitung von Antibiotikaresistenzen unter Bakterien.