Entre 3500 e 2900 a.C. as sociedades do Oriente Próximo passam por grandes transformações socioculturais. O mundo proto-urbano, que abarcava um amplo horizonte geográfico, começa dar sinais de declínio e esta crise é sentida de formas diferentes nos mais diversos locais, que desaparecem ou se retraem. Em Uruk, já em um avançado momento de urbanização, esta retração cultural promoveu efeitos diversos dentre os quais surgem novos mecanismos de administração baseados no arquivamento de tabletes protocuneiformes. Estes novos mecanismos acabaram gerando uma hipertrofia documental que coloca problemas para a instituição geradora da informação, que passa a se tornar cada vez mais autocentrada. / Between 3500/2900 BC Near Eastern societies are undergoing major transformations. The proto-urban world, which covered a broad geographic horizon, begins to show signs of decline and this crisis is felt in different ways in different places, which disappear or retract. In Uruk, already in an advanced moment of urbanization, this retraction promoted cultural effects many of which are new administrative mechanisms based on archiving proto-cuneiforms tablets. These new mechanisms have been generating a large volume of documents that posed problems for the information institution, which goes on to become increasingly self-centered.

O presente trabalho tem por objetivo traçar um panorama da vida do poeta Murilo Mendes na Europa entre as décadas de 1950 e 1970, através das cartas enviadas por ele a sua irmã Virgínia Mendes Torres. Com base na análise desse conjunto epistolar é possível refazer parte da trajetória do poeta mineiro que transplantado em território estrangeiro atuou nos meios acadêmico, literário e artístico, representando o Brasil e construindo sua própria vertente do modernismo brasileiro. / The current work aims to draw a prospect of the poet Murilo Mendes life in Europe among the decades of 1950 and 1970, through the letters sent by him and his sister Virgínia Mendes Torres. Considering the analysis of that epistolary group is possible to redo part of the poet\'s trajectory that transplanted in foreign territory acted in the academic, literary and artistic means representing Brazil and building his own view of the Brazilian modernism.

Esta pesquisa compreende uma reflexão teórica e uma produção em artes que pensa a complexidade do olhar e os fluxos do corpo do espectador dentro do museu. Busca compreender os dispositivos que determinam o movimento e o comportamento do público nos espaços expositivos e estabelece um diálogo com obras de outros artistas que também têm o museu como questão. O processo de construção da obra parte de um arquivo pessoal com imagens, registros sonoros e outros materiais coletados em museus. A pesquisa se desdobra na instalação Vértices|Vetores, proposta ao Espaço das Artes da USP. Essa obra ressignifica imagens e sons apropriados desse arquivo, articulados com projeção de luz. A dissertação assume o formato de um livro de artista, uma caixa-arquivo composta de cinco cadernos, nos quais se articulam reflexões teóricas, anotações do processo e uma leitura da obra. Parte da pesquisa é também compartilhada na seção \"Rede\" da plataforma on-line do Fórum Permanente. / This research comprises a theorical reflection and production in arts that looks up to the complexity of the sight and the expectator\'s body flows inside the museum. It aims to understand the \'dispositifs\' that determines the public\'s movement and behavior in the exhibition spaces and sets a dialogue with other artists\' work which also have the museum as a matter. The process of the work construction starts with a personal archive with images, sound records, among other materials collected in the museum. The research develops into the Vertices/ Vectors, proposed to the arts space at USP. This work reinforces images and sounds appropriated from this archive, articulated with light projection. The dissertation is set up like an artist\'s book, a file-box composed by five brochures, in which theoretical reflections, process notes and a commentary about the work are articulated. Part of the research is also shared on the section \"Rede\" of the on-line platform of the Fórum Permanente.

Taking hoarding as a model for amassing materials within art practice, this research questions the borders of a productive or rational relationship to collation and the development of pathology. In practice, I focus on how materials can be manipulated to reflect or imply attachments and value systems within disorder, collection and their interpretations/ analyses. Using historical examples, I question how disorder is formed, spatially, aesthetically and through clinical record-keeping, making specific reference to written/visual case-studies from Charcot and Freud. I question whether disorder can ever be seen as a culturally produced phenomenon in parallel to its clinical counterpart and suggest its uses to knowledge production within the fields of Fine Art and critical theory. I suggest hoarding – and the cultural construction of disorder - as collagist and create works, which reflect on the borders of psychopathological attachments to ‘stuff’; psychologies inherent to accumulation; and conscious and unconscious spaces occupied by both object and analysis. Creating new collagist and fictive methodologies out of the construction of case histories, and through the cooption of diagnostic tools and narratology used in psychoanalysis, I write about the work and within the work. This research questions how psychological disorder is re-narrated through fictive and visual forms within culture and via collective understandings of psychoanalytic subjectivities. I suggest how these fictions connect, accumulate and reflect back on themselves, affecting research and crossovers within psychoanalytic, spatial and cultural fields. I make links between the modern city and psychological disorder, drawing on the psychical affects of changes in urban space. Examining collation, the construction of psychological spaces and temporality in art practice (from Kurt Schwitters’ Merzbau to Michael Landy’s Break Down and Tomoko Takahashi’s collation of objects) alongside new clinical research into Hoarding Disorder, I relate compulsion and space to a rationalisation of clutter in contemporary practice.

Esta tese tem como procedimento a montagem de uma maquinaria de pesquisa que envolve a coleta de cartas, o mergulho no universo prisional e o retorno, em busca de ar, à superfície da escrita. As missivas provêm intencionalmente de diferentes momentos históricos do cárcere: ditadura civil-militar e Estado de exceção atual. Colocando em atividade a engasgada máquina, a correspondência recolhida é tomada como dispositivo para produção de biografemas – biografias inventadas e fragmentárias – sem compromisso com dados e fatos comprováveis pelos grandes arquivos. Assim, os biografemas, de remetentes e destinatários das cartas, criam uma insólita realidade em que a escrita é performatizada como ato de testemunhar, dando luz a um passado que não está nos arquivos, mas no ato de retirar de sua poeira esquecida o que insiste. A pesquisa contenta-se em interrogar o próprio campo e assim criar uma ambiência noturna, sabidamente inabitável. Finda na proposição inútil de um cenário sem espetáculo. Efeito do método empregado, em que o texto é uma entidade viva, instala a barulhenta polifonia, própria da palavra. Para tanto, autores como Roland Barthes, Gilles Deleuze, Michel Foucault, Maurice Blanchot e Marcel Proust, em sua potência de ativar o pensamento, serão peças vitais da engrenagem. Tal maquinaria é montada visando a máxima proliferação imaginativa. Para que a sensibilidade alcance sua plenitude na montagem dos cenários construídos. Para que a língua não se resuma a um sistema de signos amorfos, esgote o possível e abra espaços ao impossível. Prolifere em um modelo ontológico de criação de seres, esquivando à representação inerte de um mundo terminado. / The process of this dissertation is the assemblage of a research machine which consists of the gathering of letters, an immersion into a carceral universe and the return to the surface of writing in search of air. The letters are drawn intentionally from various moments in the history of the prison-house: the civil-military dictatorship and the present Penal State. Firing up this faltering machine, the collected correspondence is subsumed as a dispositif towards the production of biographemes—fabricated and fragmentary biographies—unencumbered by facts or data corroborated in archives of high regard. Thus, the biographemes of senders and recipients of these letters create an unconventional reality where the writing is turned performance. This is as an act of testimony which brings to light a perduring past which arises not in the archives but in the removal of the dust overlying the forgotten bygone. The research is fulfilled by a questioning of the field itself thus creating a nocturnal ambiance, widely recognised as uninhabitable, and ends with the useless proposition of a stage without a spectacle. As an effect of the method used, a noisy polyphony proper to the word installs itself in which the text becomes a living entity. Hence, authors such as Roland Barthes, Gilles Deleuze, Michel Foucault, Maurice Blanchot and Marcel Proust, through their potential to activate thought, are vital elements of the assemblage. The machinery is set up aiming for maximal imaginative proliferation in order to exhaust the possible and to open spaces into the impossible; thus, sensibility can attain its plenitude in the montage of created scenarios; and language will not be reduced to a system of amorphous signs. Proliferating within an ontological model of creation of beings, we avoid the inert representation of a finished world.

Orientador: José Augusto Chaves Guimarães / Banca: Johanna Wilhelmina Smit / Banca: Eduardo Ismael Murguia Marañon / Resumo: Buscando concorrer para a construção de um dispositivo intelectual que possa aperfeiçoar o fazer arquivístico no mundo pós-moderno no qual a informação é cada vez mais otimizada, investiga-se como a noção de Assunto vem sendo abordada na literatura Arquivística, com o objetivo específico de oferecer subsídios para a eventual delimitação do campo teórico-prático da noção de Assunto e, através da revisão da literatura pertinente, mostrar os diferentes contextos, pelos quais a noção de Assunto é agasalhada. Para tanto, procedeu-se inicialmente à revisão da literatura Arquivística, atentando para o percurso delimitado pela tradição clássica, do conceito do documento Arquivístico até o que os estudiosos da Arquivística denominam de fenômeno da Informação. Em uma segunda etapa, realizou-se a revisão da literatura arquivística, a partir da identificação das diferentes abordagens sobre o Assunto em Arquivos. Por fim analisa-se os principais apostes teóricos do evento I soggetti e altri apparati di indicizzazione in archivistica: ipotesi di lavoro, no qual a noção de Assunto encontra, talvez, a maior notoriedade acadêmica. Desse modo, procede-se à análise do referencial teórico oriundo do evento, a partir de duas categorias de análise: conceito e função do Assunto na Arquivística para que se possa, ao final, chegar a uma reflexão sobre a construção conceitual do Assunto em arquivos. / Abstract: Searching to concur for the construction of an intellectual device that can perfect the archival doing in the post modern world which the fierce information is optimized, to investigate itself as the notion of Subject comes being boarded in Archival literature, it aimed to offer subsidies for the eventual delimitation of the theoretician-practical field of the notion of Subject and, through the revision of pertinent literature to show the different contexts, by which the notion of Subject is lodged. For in such a way, initially it was proceeded to the revision of Archival literature, attempting for the passage, delimited for the classic tradition, of the concept of the Archival document until what the scholars of the Archival call of phenomenon of the Information. In one second stage, it was realized fullfilled revision of Archival literature, from the identification of the different boardings on the Subject in Archives. Finally it analyzes the main ones of the archival event I soggetti and altri apparati di indicizzazione in: ipotesi di lavoro, which the notion of Subject finds the biggest academic notoriety. From this way, it is proceeded the analysis of the deriving theoretical referencial of the event from two categories of analysis: concept and function of the Subject in the Archival in order to reflect on the conceptual construction of the subject in archives. / Mestre

Entre 3500 e 2900 a.C. as sociedades do Oriente Próximo passam por grandes transformações socioculturais. O mundo proto-urbano, que abarcava um amplo horizonte geográfico, começa dar sinais de declínio e esta crise é sentida de formas diferentes nos mais diversos locais, que desaparecem ou se retraem. Em Uruk, já em um avançado momento de urbanização, esta retração cultural promoveu efeitos diversos dentre os quais surgem novos mecanismos de administração baseados no arquivamento de tabletes protocuneiformes. Estes novos mecanismos acabaram gerando uma hipertrofia documental que coloca problemas para a instituição geradora da informação, que passa a se tornar cada vez mais autocentrada. / Between 3500/2900 BC Near Eastern societies are undergoing major transformations. The proto-urban world, which covered a broad geographic horizon, begins to show signs of decline and this crisis is felt in different ways in different places, which disappear or retract. In Uruk, already in an advanced moment of urbanization, this retraction promoted cultural effects many of which are new administrative mechanisms based on archiving proto-cuneiforms tablets. These new mechanisms have been generating a large volume of documents that posed problems for the information institution, which goes on to become increasingly self-centered.

Esta pesquisa compreende uma reflexão teórica e uma produção em artes que pensa a complexidade do olhar e os fluxos do corpo do espectador dentro do museu. Busca compreender os dispositivos que determinam o movimento e o comportamento do público nos espaços expositivos e estabelece um diálogo com obras de outros artistas que também têm o museu como questão. O processo de construção da obra parte de um arquivo pessoal com imagens, registros sonoros e outros materiais coletados em museus. A pesquisa se desdobra na instalação Vértices|Vetores, proposta ao Espaço das Artes da USP. Essa obra ressignifica imagens e sons apropriados desse arquivo, articulados com projeção de luz. A dissertação assume o formato de um livro de artista, uma caixa-arquivo composta de cinco cadernos, nos quais se articulam reflexões teóricas, anotações do processo e uma leitura da obra. Parte da pesquisa é também compartilhada na seção \"Rede\" da plataforma on-line do Fórum Permanente. / This research comprises a theorical reflection and production in arts that looks up to the complexity of the sight and the expectator\'s body flows inside the museum. It aims to understand the \'dispositifs\' that determines the public\'s movement and behavior in the exhibition spaces and sets a dialogue with other artists\' work which also have the museum as a matter. The process of the work construction starts with a personal archive with images, sound records, among other materials collected in the museum. The research develops into the Vertices/ Vectors, proposed to the arts space at USP. This work reinforces images and sounds appropriated from this archive, articulated with light projection. The dissertation is set up like an artist\'s book, a file-box composed by five brochures, in which theoretical reflections, process notes and a commentary about the work are articulated. Part of the research is also shared on the section \"Rede\" of the on-line platform of the Fórum Permanente.

This thesis examines the continuing growth of the House of Murray during the 1820s-1840s. Prior to the 1820s, Murray had enjoyed massive success with the publications of the work of Lord Byron, whose celebrity, and the profits generated, contributed significantly to the House’s prestigious reputation. Murray’s move from Fleet Street to Albemarle Street in 1812 also signified the House’s shift from bookselling to publishing, which enabled Murray to attract an increasing number of high-profile names from the worlds of literature, travel and exploration, the sciences, and politics. Murray’s drawing-room at Albemarle Street became renowned throughout the trade for its gentlemanly gatherings, comprising of the luminaries of the day. The four chapters of this thesis explore how Murray (re)established the House identity in different markets during the 1820s-1840s, as the Romantic epoch diffused into an increasingly commercialised era, with new production methods, an expanding marketplace, and increasing competition. Chapter One considers Murray’s use of the drawing room at Albemarle Street to construct a House identity amongst selected members of his inner circle. It also looks at the importance of the Byronic legacy to the House and the means by which Murray sought to protect it. Chapter Two engages with the contrasting side of the House, namely the ‘cheap’ publications, which Murray published in response to the growth of this market in the late-1820s and early-1830s. During this time Murray used some of his well-established assets, such as Byron, Crabbe and the Quarterly Review, to retain the prestige of the House, while attempting to reach new readers within the burgeoning middle class. Chapter Three examines Murray’s correspondence with some of his female authors to consider how the House responded to authors of both genders, and, with reference to ongoing scholarship regarding ‘women’s writing’, questions the veracity of a gender-centric approach when applied to the study of archival materials; the chapter’s findings suggest that both Murray’s male and female authors were treated similarly. The final chapter explores how Murray strove to retain control over the House’s reputation as international trading possibilities developed. The roots of the 'Handbooks' and the 'Colonial and Home Library' are also traced back further than has previously been considered, and read within the context of the ongoing re-branding of Byron discussed in Chapters One and Two. The House’s literary figures, and the Quarterly Review, were used by Murray in the 1840s to promote the values and prestige of the House in America, Europe and the Colonies. This thesis offers much previously unpublished archival material from the John Murray Archive at the National Library of Scotland. It builds upon previous scholarship on John Murray and seeks to contextualise some of these lines of enquiry through providing a sustained study of the House during the 1820s-1840s. It uses quantitative analysis, where possible, to provide further grounding for some of its claims, and situates the findings within the growing body of research in this area. It is the underlying aim of this thesis to foreground the House’s shift from the ‘Romanticism’ of the early-nineteenth century towards the ‘commercialism’ of the mid-nineteenth century, whilst serving as a point of reference for further scholarship on the John Murray Archive during this time period.

I feel like I can get home from here is an archive of the resilience, multiplicity, and survival of butch lesbians who continue to straddle the margins of a larger LGBTQ community and heterosexual world, and the lines of hypervisibility and erasure. As both a print book and digital archive, this project aims to compile meaningful textual and visual content about butch lesbians into one space and explore themes of identity, childhood, community, memory, history, and trajectories. Combining digital photography, questionnaire answers, interview transcripts, photo manipulation, and personal writings, the project aims to encapsulate a snapshot of contemporary understandings of butch embodiment in a manner that is documentary and figurative. 60 participants shared their stories and experiences in the form of in-person interviews and an online questionnaire. I feel like I can get home from here highlights the ideas that butch is a multiplicitous and nebulous identity that is vital to understandings of gender and sexuality and that a butch-designed archive can combat systematic erasure and stereotyping. Within its scope, the project serves as its own standalone emotive archive and gives greater depth and voice behind a butch image superficially propagated by media and commonplace stereotyping. The project derives influence from and negotiates theories that deal with symbolic annihilation and the conceptual archive, lesbian semiotics and identification, and (lesbian) photography. At its core, this project is a celebration, a living history, and a deep embodiment of community and love that speaks to a butch past, present, and future and the possibilities of masculinity.