[pt] A presente pesquisa tem como escopo a análise discursiva da interação de jovens alunos de um CIEP com o propósito de melhor entender suas percepções acerca daquele espaço escolar, por meio de seus posicionamentos e suas construções narrativas sobre a escola. Este trabalho procurou investigar e compreender o processo de construção de sentido e de subjetivação desse espaço, assim como (re)pensar a política educacional vigente do Rio de Janeiro. A pesquisa, de natureza qualitativa e interpretativa (Denzin e Lincoln (2003),2006), foi desenvolvida por meio da análise de entrevistas em grupos, semi-estruturadas, gravadas em áudio, com jovens entre 15 a 18 anos, alunos de uma turma de nono ano do ensino fundamental, de uma escola estadual da região metropolitana do Rio de Janeiro. As entrevistas são analisadas com base na perspectiva teórica da análise de narrativas (Bastos e Biar, 2015), mais especificamente da concepção de micronarrativas (Bamberg; Georgakopoulou, 2008); da percepção de espaço da Geografia Humanista (Tuan, 2013 (1977)); de comunidades de práticas (Wenger, 1998) e da teoria do posicionamento (Langenhove; Harré, 1999). Assim, observaremos como, na entrevista de pesquisa em grupo i) os participantes se posicionam, em relação a gostar ou não de ir à escola; ii) os alunos constroem conjuntamente conhecimentos e práticas compartilhadas na escola; iii) seus posicionamentos e suas construções narrativas sinalizam o processo de subjetivação do espaço escolar. As análises sugeriram uma heterogeneidade e complexidade na percepção dos alunos sobre a escola. Seus posicionamentos e construções narrativas esbarram na concepção social do senso-comum de local para estudar; ademais, o significado construído individual e coletivamente a partir de suas vivências naquele espaço está além de uma perspectiva pedagógica. / [en] The present research aims at the discursive analysis of the interaction of young students of a CIEP in order to better understand their perceptions regarding that school space, through their positioning and their narrative constructions on the school. This work sought to investigate and understand the process of construction of meaning and subjectivation of this space, as well as (re)think the current educational policy of Rio de Janeiro. The research, of a qualitative and interpretive nature (Denzin and Lincoln (2003), 2006), was developed through the analysis of interviews in groups, semi-structured, recorded in audio, with young people between 15 and 18 years old, students of a ninth grade class of elementary school, of a state school in the metropolitan region of Rio de Janeiro. The interviews are analyzed based on the theoretical perspective of narrative analysis (Bastos and Biar, 2015), more specifically the conception of micronarratives (Bamber; Georgakopoulou, 2008); of the perception of space of the Humanist Geography (Tuan, 2013 (1977)); (Wenger, 1998) and positioning theory (Langenhove and Harré, 1999). Thus, we will observe how, in the interview of group research i) the participants are positioned, in relation to liking or not to going to school; ii) students jointly build shared knowledge and practices at school; iii) their positions and their narrative constructions signal the process of subjectivation of the school space. The analyzes suggested a heterogeneity and complexity in the students perception about the school. Their positioning and narrative constructions run counter to the social conception of the common sense of place to study; moreover, the meaning built individually and collectively from their experiences in that space is beyond a pedagogical perspective.

<p>Poetičko dejstvo mesta predstavlja oblik delovanja prostora koji u čoveku proizvodi doživljaj. Ovaj fenomen je predstavljen iz potrebe da objasni suštinu i prirodu arhitektonskog prostora kao i način na koji prostor vrši dejstvo. Osnovna problemska i istraživačka tema ovog rada jeste uzročno-posledična veza između fizičkog prostora i mesta, koja se zasniva na dijaloškom procesu usled kog je moguće postići da čovek doživi određeno &bdquo;poetičko stanje&ldquo;.</p> / <p>Poetic place influence is a manner in which space causes a man to have an experience. This phenomenon is introduced in order to explain the essence and nature of architectural space, as well as the manner in which the space produces this effect. The main problem and research subject of the work is cause and effect between physiscal space and place, grounded on dilagoue process which enables a man to experience certain &rsquo;poetic state&rsquo;.</p>

I have organized this paper into four chapters: "The Environmental Situation," "Space and Place," "Art and the Natural Environment," and "Creating Work of My Own." Chapter 1 explains human beings' intrinsic interconnection to the natural environment, outlining why humans should be concerned about the current degraded state of the natural world. Chapter 2 discusses the concepts of space and place. It analyzes how human beings interact with and experience spaces, developing their sense of place - within physical, theoretical, and spiritual realms. It finally illustrates the importance that spaces and places have in humans' lives. Chapter 3 describes the Land Art phenomenon: its development, the different forms within it, and artists producing Land Artworks. The forms and artists included are those that have been inspirational for the development of my own work. It also emphasizes Land Art as a fundamental form for improving humans' relationship with the natural environment and the new realm of eco-feminism that resonates with Land Art ideals. Chapter 4 recounts the development of my art throughout my college career. It describes my work as site-specific, sculptural installations that use natural materials. It also states why this format is the most effective for my senior art thesis project. Focusing mainly on "Ecological Reawakening: organic DNA," it explains the mentality in designing, creating, installing, and completing the work. Overall, Chapter 4 emphasizes the work's two main goals: to demonstrate a new avenue for comprehending humankind's place within earth's environmental spaces, and to advocate for an environmental paradigm shift during the twenty-first century. Finally, Chapter 5 describes the transformation of "Ecological Reawakening: organic DNA" as it developed over time during the spring honors senior thesis course. It details my mentalities in adding living plant matter to the structure, incorporating a stool into the piece, and creating "Evolution," the digital photography composition that documents "Ecological Reawakening" and was included in the Scripps Senior Art Exhibition in the Ruth Chandler Williamson Gallery from May 1 – May 17, 2009.

The aim of the diploma thesis is to define a specific phenomenon bound to the current consumer society, which by its expression considers certain values and relations to the material world as necessary or, on the contrary, unnecessary. At the same time, it examines the boundary between consumer goods that we use on a daily basis and the subjects that have become part of our personality. These findings are demonstrated on specific examples. Telecommunication progress and its impact on today's consumer society in all aspects of nowadays lifestyle has become the starting point for the diploma work. Phone as an artifact has become part of our life with an ever more personal approach. This phenomenon is grasped theoretically, creatively and as an opportunity for pedagogical activity and research. The pedagogical intention is not only suggested but also verified and reflected in praxis.

Continuous Curatorial Conversations is a practice-led exploration of conversation, both as a medium and as a tool for capturing supplementary histories of the curatorial. The primary question of this research project is how the medium of conversation can be explored to write supplementary histories of the curatorial which thus far have been omitted from extant publications on the subject. Three important sub questions guide this exploration. First, what is and has been the role of conversation within the curatorial? What are the possibilities and limitations within the medium of conversation? What roles do conviviality and hospitality play within the process of conversation? This thesis reflects upon a series of curated projects that explore the sp/pl/ace for curatorial conversation and also reviews a collection of one-to-one recorded conversations conducted by the author, including conversations with Alfredo Cramerotti, Hedwig Fijen, Mel Gooding, William Furlong and Sarah Lowndes. Sites of fieldwork include: the 54th Venice Biennale; Manifesta 8, The European Biennial of Contemporary Art; and Glasgow International Festival of Visual Art 2012. Through these projects and related recordings it unpicks the norms and possibilities of what and when one can record on the subject of the curatorial. The hypothesis of this study is that a great deal of curatorial activity is locked up in conversation, yet a disproportion makes it to the pages of the history of the field. Furthermore, in its clean transcribed form it misrepresents the fragility and nuance of the original exchange. The theoretical context of this research looks at Nicolas Bourriaud’s notion of Relational Aesthetics, the writing of Maria Lind and Paul O’Neill, with a focus on Audio Arts. A new methodology relating to curatorial conversation and its recording has therefore been identified as ‘critical conviviality’. The writing relating to Continuous Curatorial Conversations research takes the form of four books. The book ‘An Introduction’ comprises the PhD thesis and sits next to a bespoke online platform www.continuous-curatorial-conversations.org which hosts a selection of audio recordings collated during the research process. The books ‘Continuous’, ‘Curatorial’, and ‘Conversations’ unpack the lineage and context of Alexandra C.M. Ross’s practice and projects conducted during her research and are to be read in no strict order. The new knowledge resulting from this thesis and relating practice is the attention to the subtleties of conversation and its capture as it relates to the instigation, recording and presentation of semi-private matters in semi-public contexts.