La narration d'une pratique s'ébauche parfois par la présence d'une simple lettre, comme un humble point dévoile l'existence d'une ligne. Le "e" réapparaît au sein du dessin, le pare d'une multiplicité de significations, lui donne le poids perdu ou jamais acquis d'une esquisse autonome.La tradition du dessein se questionne par le biais d'un phénomène, dessiner la lumière, à l'heure d'une reproductibilité technique exacerbée.Le chemin sinueux emprunté par le dessin le mène au franchissement de frontière pléthorique, annonçant sa transversalité. Le mouvement immanent à la matière utilisée et l'hybridation comme notion intrinsèque à la création actuelle, toujours au service de l'élément graphique, vont faire opérer au dessin de nombreux déplacements intra et interdisciplinaires - conviant origines, idées, concepts et procédés techniques - mais aussi physiques. La réalisation de la lumière produite par l'expérience graphique, ses passages entre visible et non visible, se retrouve dans le signe et dans l'indice photographique et interroge la perception. La recherche de luminosité et de contraste, souvent traduites par la présence de noirs et de blancs, offre à l'espace plastique une palette infinie de possibles variations.Cette potentialité exhaustive requiert l'ultième acte du processus créatif, le choix, façonnant la mise en espace de la lumière en de multiples compositions graphiques.Le jeu, la phantasia et la poétique du phénomène lumineux, malgré l'évolution des procédés techniques employés, préservent la confidence qui confère au dessin se caractère intime dans lequel se silhouette un onirisme, une manière de résister. Travailler la lumière aujourd'hui dans le secret d'un acte aveugle, aveuglé, aveuglant, problématise la notion d'authenticité induisant un rapport à l'aura toujours en valse-hésitation entre apparition et disparition face à sa perte auparavant annoncée. / The narrative outline of a practice is sometimes sketched by the presence of a simple letter, like a humble dot can reveal the existence of a line.The "e" appears again in the drawing, adorns it with a multiplicity of meanings, giving it the weight never acquired of an autonomous sketch. (There is distinction in French language between the words "dessein" and "dessin" which one I play). At a time of heightened technical reproducibility and through a phenomenon - drawing the Light - the ambition and its tradition question themselves.The Drawing, on a sinuous path, crosses some excessive borders/frontiers, announcing his "transversality". The movement immanent to the material used and the hybridization as an intrinsic concept of the actual creative process, always at the service of the graphic element, will push the Drawing in many directions within and across disciplines - inviting origins, ideas, technical concepts and processes - but also physical. The light produced by the graphic experience, movements between visible and invisible, can be found not only in the sign but also in the photographic index and questions our perception.The research forn brightness and contrast in shades, often with black and white tons, gives an infinite range of potential variations to the creative/esthetic space/arena. This exhaustive potential is threatened by the ultimate act of creativity : the choice, shaping the spatial dispositions of light into multiple graphic compositions.Despite certain technical processes and their evolution, play, phantasy and light phenomenon' poetics protecting the Drawing' secret : an intimate characteristic in which onirism, as a wayto resist, appears. Working with light today - in a secret of a blind act, blinded, blinding - questions the Authenticity as a concept, creating an uneasy relationship to the aura, always between appearance and disappearance facing its previously announced loss.

Les stratégies de conservation de la nature évoluent de la protection stricte d'espaces isolés et dépourvus d'activités humaines, à l'intégration des enjeux de biodiversité dans le développement territorial. Ce changement de perspective, des aires protégées à la territorialisation de l'environnement, suppose de gérer la complexité et d'appréhender la nature collectivement et met l'accent sur les relations entre science, politique et société. Cette thèse, fondée sur une approche pluridisciplinaire, a eu pour objectif l'élaboration de recommandations pour répondre aux enjeux d'une conservation intégrée de la biodiversité. S'inscrivant dans le contexte de l'avènement des stratégies de réseau écologique en France, notre recherche porte à la fois sur les méthodes spatiales et sur les dispositifs socio-techniques en charge de planifier la conservation intégrée de la biodiversité. Chacune de ces parties a mené à des résultats et conclusions qui leur sont propres et a contribué à une réflexion plus globale sur le rôle de l'expertise technique pour répondre à ces nouveaux enjeux. Nous montrons comment une approche trop technique, centrée notamment sur la spatialisation du réseau écologique, tend non seulement à limiter le partage au sein du collectif et donc l'adhésion des acteurs mais aussi à fournir une vision réductrice et partielle des enjeux de conservation. A l'inverse, un positionnement de l'expertise en accompagnement du dialogue territorial favorise l'apprentissage social et aboutit à un cadre d'action publique qui intègre davantage les incertitudes et la complexité du vivant. Le processus participatif doit donc permettre d'opérer un glissement de l'expertise technique comme fondement de l'action publique à l'expertise collective qui assure l'intégration des savoirs et savoirs-faire de tous. Ainsi l'enjeu n'est pas celui du compromis entre science, technique et débat social mais plutôt celui de la gestion de leur interaction et de leur complémentarité. / Nature conservation strategies evolve from the strict protection of isolated and devoid of human activity spaces, to the integration of biodiversity issues in territory development. This change in perspective requires the development of a collective management of complexity and a collective conception of nature and highlights the developing relationship between science, policy and society.Based on a multidisciplinary approach, the objective of this thesis was the elaboration of recommendations for integrated conservation. In the context of the advent of ecological network strategies in France, our research concerns both the spatial methods and the socio-technical process which are in charge of the conservation planning. The analysis of these two issues has produced results pertinent to each theme and more general reflection concerning the role of technical expertise in the development of such new issues. We show how an overly technical approach, which notably aims to spatially identify the network, tends to limit the collective sharing of major issues and thus the adherence of the stakeholders to conservation goals, and also provide a reductive and partial vision of conservation issues. In contrast, a position of expertise which accompanies the dialogue on territory favors social learning and leads to a framework for public action which more fully integrates both the uncertainty and complexity of the natural world. The participative process could thus allow tfor a transition from technical to collective expertise as the foundation of public action, which ensures the inclusion of general knowledge and know-how. In this way, the issue is not of a compromise between science, technique and social debate, but of the way that they can complement each other through interaction and how this interaction may be conducted.

Glass has been made and used for centuries but South African artists, isolated for the last three decades, are only now becoming aware of the potential of hot or warm glass as an art medium. In antiquity glass objects were created using various processes but the 'factory' tradition began with the discovery of the blowing iron in the first century AD. The invention of the tank furnace in the late 1950s revolutionised modem production, enabling individual artists to make glass in private studios without blowing teams. The research describes ancient.. glassmaking processes and indicates how they have been explored, adapted and used by contemporary artists world wide, challenging craft orientated paradigms, and proving that glass is a viable and important sculpture medium. The practical research demonstrates the application of many processes and relates technical issues to sculptural concepts which are realized through the physical and material properties of glass. / Art History, Visual Arts & Musicology / M.A. (Fine Art)

Glass has been made and used for centuries but South African artists, isolated for the last three decades, are only now becoming aware of the potential of hot or warm glass as an art medium. In antiquity glass objects were created using various processes but the 'factory' tradition began with the discovery of the blowing iron in the first century AD. The invention of the tank furnace in the late 1950s revolutionised modem production, enabling individual artists to make glass in private studios without blowing teams. The research describes ancient.. glassmaking processes and indicates how they have been explored, adapted and used by contemporary artists world wide, challenging craft orientated paradigms, and proving that glass is a viable and important sculpture medium. The practical research demonstrates the application of many processes and relates technical issues to sculptural concepts which are realized through the physical and material properties of glass. / Art History, Visual Arts and Musicology / M.A. (Fine Art)