In his book, Whatever, Michel Houellebeque wrote: “I observe right away that people generally go around in bands, or in little groups --- Next I notice that all these people seem satisfied with themselves and the world; it's astonishing, even a little frightening. They quietly saunter around, this one displaying a quizzical smile, that one a moronic look. Some of the youngsters are dressed in leather jackets with slogans borrowed from the more primitive kind of hard rock; you can read phrases on their backs like Kill them all!or Fuck and destroy!; but all commune in the certainty of passing an agreeable afternoon devoted primarily to consumerism, and thus to contributing to the consolidation of their being.”i The quote illustrates the condition of our current time where culture and meaning has been negated by the process of consumption. From the quote we can clearly see ambivalence towards identity. Houellebecq's book has captured perfectly the pervasive emptiness of human life. Fashion has always been a mirror of the society, and what does it says about our society today when fashion has turned so banal that it is almost impossible to tell one from another. What does it say about our society when people's identity changes as the season changes with exponential acelleration. The idea of this project is to create a critical commentary on how the fashion world and the world in general has changed. During the last decades, fashion changes so fast, seasons come and go and the old Spring/Summer, Fall/Winter collections are not enough anymore. Now we have Resort and Pre-Fall as an addition to the original instalment. Customers expect new goods at least every month if not every week. Trends changes so fast to the point if you observed a fashionista she will look schizophrenic because of how often she changes her persona. Fashion has ceased to become creative or critical. The pressure on commercialism has led the industry into a machine with no substance geared to churn up more products with little regards to creativity, sustainability and the environment. The direction this change is going is frankly alarming, yet, with all the rigid system and the pressure on commercialism there is only so much that one can do. Referring to Michel Houellebeqc and his book Whateverii, with this project I'm trying to bring more awareness to the state of our time. iMichel Houellebeqc, Paul Hammond (translator), Whatever, Serpent's Tail, London,1998 iiMichel Houellebeqc, Paul Hammond (translator), Whatever, Serpent's Tail, London,1998

FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / Esta pesquisa està motivada em um diÃlogo entre o projeto Lotes Vagos: AÃÃo Coletiva de OcupaÃÃo Urbana Experimental, dos artistas Breno Silva e Louise Ganz, e os conceitos de comum e comunidade segundo o filÃsofo italiano Giorgio Agamben, bem como outros que atravessam a formulaÃÃo destes, como impropriedade, tempo, espaÃo e invenÃÃo. O projeto aconteceu em Belo Horizonte (2005/2006) e em Fortaleza (2008), sendo este Ãltimo nosso interesse principal, composto por sete atividades. Lotes Vagos propunha a ocupaÃÃo temporÃria de terrenos baldios. Como mÃtodo, os artistas acordavam um contrato com os donos dos terrenos enquanto abriam a convocaÃÃo a qualquer um para as proposiÃÃes temporÃrias. Entre muitas de suas camadas de leitura, fica evidente o carÃter pÃblico dado aos lotes privados. Em outras, o projeto se dà como propositor de uma abertura do espaÃo para que se faÃa uma reinvenÃÃo de si, atravessados pela ideia de impropriedade que ali se instaura. No decurso dessa investigaÃÃo, percebemos que o qualquer, na conceituaÃÃo formulada por Agamben, aquele que, de todo modo, importa, à o usuÃrio das atividades propostas nos terrenos baldios, e que o participante faz, junto com os propositores, a aÃÃo acontecer. / This research is motivated in a dialogue between the Lotes Vagos: Coletive Action on a Experimental Urban Ocupation, from the artists Breno Silva and Louise Ganz, and the concepts of common and community, as Giorgio Agamben have discussed it, as well as others that touch the formulation of those ones, such as what is called improper, time, space and invention. The project happened in Belo Horizonte (2005/2006) and Fortaleza (2008), this last one being our main object, composed with seven occupations. Lotes Vagos proposed the temporary occupation of urban vacancies. As a method, the artists made an agreement with the owners of the lands meanwhile opened the invitation to any propositions. In many possibilities of interpretations, Lotes Vagos made evident the public character given to a private space. In others, the project presents an invitation to open up a space to a reinvention of the self. During this investigation, it was possible to understand that whatever, concept developed by Agamben, the one who, in anyway, matters, is the main participant of the propositions on the urban vacancies. It became clear, also, that both artists and whatever user made the action happen.

This study examines the functions of the borrowed discourse marker (DM) whatever in Chiac, an Acadian French dialect spoken in the southeastern region of New Brunswick (Canada). Analyzing data from two relatively homogenous corpora, a detailed description of the properties of whatever in its most frequent role, that of an approximation marker, is provided. In this role, it can signal that the speaker is unable to recall a particular word or detail relating to previous content or mark indifference towards the accuracy of the statement. When whatever marks a forgotten element, it is often preceded or followed by a sign of hesitation or is followed by a reformulation which clarifies what the speaker intended to say. This contrasts with the use of whatever to mark imprecision. This research uses contextual clues to differentiate various usages of whatever, and as such, it offers a methodology for the analysis of the polyvalent DM whatever. / Graduate

Gilles Deleuze'as kuria kinui būdingus konceptus, kurie pagilina kino problematiką, suteikdami jai filosofinį pagrindą. Savo vaizdinio-judėjimo ir vaizdinio-laiko knygose – Kinas 1 ir Kinas 2 – Deleuze'as konceptus taiko klasikiniui ir moderniajam kinui. Kino filmų jis nepasirenka kaip savo konceptų iliustracijų, o juos vertina kaip tuos pačius konceptus, išreikštus vaizdine forma. Pagrindinis šio magistrinio darbo tikslas – aptarti bet-kurios-erdvės, kuri priklauso vaizdinio-judėjimo kinui ir išreiškia netiesioginį laiką, ir vaizdo-kristalo, išreikšiantį sudėtingą tiesioginio laiko sistemą, konceptus ir tirti jų apraiškas kino mene. / Gilles Deleuze creates concepts characteristic of cinema which deepen the problematics of cinema providing a philosophical basis to it. In his books of movement-image and time-image – Cinema 1 and Cinema 2 – Deleuze applies concepts to classical and modern cinema. He doesn‘t choose movies as illustrations of his concepts but values them as the same concepts expressed in visual form. The main aim of this master thesis – to discuss the concepts of any-space-whatever, which belongs to the cinema of movement-image and expresses indirect time, as well as of crystal-image, which expresses a complex system of direct time, and to investigate their manifestations in the art of cinema.