Esta dissertação constitui-se em uma produção de narrativas de viagem pelas ruas, trilhos e águas da Saúde Mental Coletiva a partir das experiências da narradora, na cidade de Porto Alegre. Valendo-se de sua trajetória singular de formação em Saúde Mental, a artista propõe um olhar curioso sobre a Reforma Psiquiátrica e a inserção do fazer teatral neste campo, a fim de constituir formas de inclusão da loucura na cidade e contribuir com processos de desinstitucionalização. Para fundamentar este percurso, utiliza os conceitos de Zona Autônoma Temporária, Nomadismo Psíquico e Biopolítica, bem como, apresenta ao campo da Saúde Coletiva um pouco da teoria teatral a fim de produzir intercessões entre arte, ciência e filosofia. A partir de sua participação no grupo de teatro Nau da Liberdade, que é composto por usuários, trabalhadores e estudantes da Saúde Mental, a narradora analisa a cena teatral contemporânea e propõe uma maneira de pensar a desinstitucinalização através da inserção cultural e da noção pertencimento a um bando. / This work consists in a production of travel stories through the streets, trails and waters of Collective Mental Health, from the teller’s experiences, in the city of Porto Alegre. Drawing on her unique career training in Mental Health, the artist proposes a curious look on the Psychiatric Reform and the insertion of theater acting in this field, in order to constitute forms of inclusion of madness in the city and to contribute to processes of deinstitutionalization. To support this route, she uses the concepts of Temporary Autonomous Zone, Psychic Nomadism and Biopolitics, and presents some of theater theory to the field of Public Health, aiming to create intersections between art, science and philosophy. From her participation in the theater group Ship of Freedom, which is composed of members, employees and students of Mental Health, the narrator examines the contemporary theater scene and proposes a way of thinking deinstitutionalization through the ideas of cultural inclusion and belonging to a band.

Esta dissertação constitui-se em uma produção de narrativas de viagem pelas ruas, trilhos e águas da Saúde Mental Coletiva a partir das experiências da narradora, na cidade de Porto Alegre. Valendo-se de sua trajetória singular de formação em Saúde Mental, a artista propõe um olhar curioso sobre a Reforma Psiquiátrica e a inserção do fazer teatral neste campo, a fim de constituir formas de inclusão da loucura na cidade e contribuir com processos de desinstitucionalização. Para fundamentar este percurso, utiliza os conceitos de Zona Autônoma Temporária, Nomadismo Psíquico e Biopolítica, bem como, apresenta ao campo da Saúde Coletiva um pouco da teoria teatral a fim de produzir intercessões entre arte, ciência e filosofia. A partir de sua participação no grupo de teatro Nau da Liberdade, que é composto por usuários, trabalhadores e estudantes da Saúde Mental, a narradora analisa a cena teatral contemporânea e propõe uma maneira de pensar a desinstitucinalização através da inserção cultural e da noção pertencimento a um bando. / This work consists in a production of travel stories through the streets, trails and waters of Collective Mental Health, from the teller’s experiences, in the city of Porto Alegre. Drawing on her unique career training in Mental Health, the artist proposes a curious look on the Psychiatric Reform and the insertion of theater acting in this field, in order to constitute forms of inclusion of madness in the city and to contribute to processes of deinstitutionalization. To support this route, she uses the concepts of Temporary Autonomous Zone, Psychic Nomadism and Biopolitics, and presents some of theater theory to the field of Public Health, aiming to create intersections between art, science and philosophy. From her participation in the theater group Ship of Freedom, which is composed of members, employees and students of Mental Health, the narrator examines the contemporary theater scene and proposes a way of thinking deinstitutionalization through the ideas of cultural inclusion and belonging to a band.

Esta dissertação constitui-se em uma produção de narrativas de viagem pelas ruas, trilhos e águas da Saúde Mental Coletiva a partir das experiências da narradora, na cidade de Porto Alegre. Valendo-se de sua trajetória singular de formação em Saúde Mental, a artista propõe um olhar curioso sobre a Reforma Psiquiátrica e a inserção do fazer teatral neste campo, a fim de constituir formas de inclusão da loucura na cidade e contribuir com processos de desinstitucionalização. Para fundamentar este percurso, utiliza os conceitos de Zona Autônoma Temporária, Nomadismo Psíquico e Biopolítica, bem como, apresenta ao campo da Saúde Coletiva um pouco da teoria teatral a fim de produzir intercessões entre arte, ciência e filosofia. A partir de sua participação no grupo de teatro Nau da Liberdade, que é composto por usuários, trabalhadores e estudantes da Saúde Mental, a narradora analisa a cena teatral contemporânea e propõe uma maneira de pensar a desinstitucinalização através da inserção cultural e da noção pertencimento a um bando. / This work consists in a production of travel stories through the streets, trails and waters of Collective Mental Health, from the teller’s experiences, in the city of Porto Alegre. Drawing on her unique career training in Mental Health, the artist proposes a curious look on the Psychiatric Reform and the insertion of theater acting in this field, in order to constitute forms of inclusion of madness in the city and to contribute to processes of deinstitutionalization. To support this route, she uses the concepts of Temporary Autonomous Zone, Psychic Nomadism and Biopolitics, and presents some of theater theory to the field of Public Health, aiming to create intersections between art, science and philosophy. From her participation in the theater group Ship of Freedom, which is composed of members, employees and students of Mental Health, the narrator examines the contemporary theater scene and proposes a way of thinking deinstitutionalization through the ideas of cultural inclusion and belonging to a band.

This paper describes the philosophical and functional framework of the MFA thesis exhibition Samsara Unlimited: towards an ecology of compassion. Samsara Unlimited was designed as a conceptual social artwork that would engage a network of art students and interested participants in developing a collaborative network. Using established high art aesthetics and familiar consumer based signifiers; the gallery was transformed over a week into a production, design and retail facility. In this torqued capitalist micro-system, financial profit was considered critical for the functioning of the system but secondary to the generation of a field of compassion. <p>The project sought to create a process through which the general public could become familiar with the perceptive processes engaged by artists in reconstructing everyday reality. It was posited that the ability to engage these perceptive processes would potentially lead to an ontological shift in the spectator. Participants who entered the gallery space could alter between the functional reality of a concept store and the altered reality of an art gallery. The public was encouraged to visit over the week of the installation to ask questions, get involved in art making process or simply socialize with the artists and artisans involved in the project.

This paper describes the philosophical and functional framework of the MFA thesis exhibition Samsara Unlimited: towards an ecology of compassion. Samsara Unlimited was designed as a conceptual social artwork that would engage a network of art students and interested participants in developing a collaborative network. Using established high art aesthetics and familiar consumer based signifiers; the gallery was transformed over a week into a production, design and retail facility. In this torqued capitalist micro-system, financial profit was considered critical for the functioning of the system but secondary to the generation of a field of compassion. <p>The project sought to create a process through which the general public could become familiar with the perceptive processes engaged by artists in reconstructing everyday reality. It was posited that the ability to engage these perceptive processes would potentially lead to an ontological shift in the spectator. Participants who entered the gallery space could alter between the functional reality of a concept store and the altered reality of an art gallery. The public was encouraged to visit over the week of the installation to ask questions, get involved in art making process or simply socialize with the artists and artisans involved in the project.

In post-conflict settings real and imagined boundaries do a great deal to determine who is inside and who is outside of state-based narratives of peace and prosperity. Based on case studies in Rwanda and Northern Ireland, I provide an analysis of the post-conflict periods and the impact of neoliberal-styled governance on the dynamics of power. I argue that as power shifted, ‘peace’ also entailed a general social pacification, and prosperity equated to greater private profit. However, top-down social engineering has not contained the entire field of social struggle. I examine micro-level interventions taking place on the margins of mainstream discourse that trouble the moralizing state-narratives that seek to legitimate structural violence. Such spaces facilitate alternative values and practices that contribute to sustained social and cultural resilience, as well as forms of resistance. Post-conflict Rwanda and Northern Ireland have been impacted by both coercive and consensual forms of social engineering. In Rwanda, state-based framework laws and forceful regimes of local implementation rely on stark contingencies of reward and punishment to shape and control behaviour in the public sphere. In Northern Ireland, the power-sharing structure of the Belfast Agreement has reinforced ethnic politics, while depoliticizing and instrumentalizing civil society in support of its neoliberal policies. I present ethnographic research and interviews conducted with community organizations in Northern Ireland (Ikon) and Rwanda (Student Association of Genocide Survivors - AERG) that demonstrates how alternative discourses and practices are emerging in the cracks of these top-down systems. I explore Ikon’s use of creative performances and radical theology to create socially resonant cultural spaces that function as temporary autonomous zones. These TAZs unsettle aspects of individual identity while intentionally seeking to destabilize mainstream power dynamics. Unlike Ikon, AERG faces greater public scrutiny and higher political stakes. They demonstrate an adherence to the dominant social script in the public sphere, while exhibiting micro- level agency through trauma healing, and material support in private day-to-day practices. AERG’s performance in the public sphere creates temporary spaces of encounter that exceed the boundaries of official discourse, making their alternative presence felt while remaining illegible to the dominant surveillance frameworks. / Thesis (Ph.D, Cultural Studies) -- Queen's University, 2014-06-02 11:02:09.033