Corpses and disappeared bodies have become part of the Mexican landscape. Within the overall increase of violence, feminicide has become an urgent matter. Around ten women are murdered each day and most cases remain unsolved. As a response to this spectacle of violence, feminist protests and organized action are gaining prominence throughout the country. ‘Vivas nos queremos’ (‘We want to stay alive’) and ‘Ni una menos’ (‘Not one less’) are some of the chants that resonate among massive protests. Despite the growing numbers of feminicide cases and with the spread of activism, there is surprisingly little research that examines the affects and emotions engendered in the current normalization of violence. Much has been said about feminicide in relation to symbolic violence, and patriarchal structures, but not enough focus has been placed on how living bodies affect and are affected by their contact with the dead. Thus, this project utilizes affect theories (Brian Massumi, 2002) and the language of haunting (Avery F. Gordon, 2008) to unpack the complexity of feminicide, collective mourning, and normalization of violence. Through a close reading of literary fiction, I explore the affective forces engendered between living bodies and dead bodies. By thinking with Massumi and Gordon, I posit that theorizing affective forces should not assume a sharp cut between life and death. Then I follow the ghost of La Llorona (The Weeping Woman) as her wails become the voice of grieving mothers and murdered women. Listening to La Llorona’s wails as they mingle with activists’ chants of resistance makes visible, audible, and palpable a larger haunting that hints towards unequal social structures. Thinking with the concepts of mourning and grief as well as affect and haunting opens new ways of thinking about the unresolved murders and disappearances of women as expressed by literature and artivism. / Graduate

De flesta män är för jämställdhet, de flesta män är emot våld och de flesta män gör absolut ingenting för jämställdhet. “Oj men så kan du inte skriva då kommer du förlora deras intresse” det var vad en vän varnade mig om, att ni män skulle bli rädda, känna er påhoppade eller bli arga. Men det här examensarbetet är inte till för att vara er män till lags, det är till för att skapa reaktion, engagemang och diskussion män emellan.  Projektet ämnar att undersöka hur grafisk design kan vara en bidragande faktor till eget engagemang inom jämställdhet. Konceptet Don’t be an asshole brewery är resultatet av denna undersökning, ett alkoholfritt ölbryggeri som utmanar dagens bild av manlighet. / Most men are for equality, most men are against violence and most men do absolutely nothing for equality. "Oh but you can’t write that then you just might lose their interest" that was what a friend warned me about, that you men would be scared, feel attacked or get angry. But this thesis is not meant to be comfortable, it is meant to create reaction, involvement and discussion between men. The project aims to investigate how graphic design can be a contributing factor to one's own involvement in equality. The concept Don't be an asshole brewery is the result of this study, a non-alcoholic brewery that challenges today's image of masculinity.

Este trabalho versa sobre a organização, análise e historicização da memória das Mal-Amadas através dos experimentos cênicos antipatriarcais praticados ao longo de vinte e seis anos. Esse grupo de teatro feminista foi criado para responder com arte ao sofrimento e à dor de mulheres em atendimento na Casa Beth Lobo, uma política pública de apoio à mulher em situação de violência doméstica. O estudo atende a uma perspectiva feminista e de gênero com olhar especial para o feminismo radical e os seus pressupostos, partindo de uma reflexão sobre a natureza e a origem da opressão das mulheres. Está organizado com Introdução, Memória, Poética do Desmonte I (1992-1999) - período que diz respeito à relação institucional com a Prefeitura de Diadema - e Poética do Desmonte II (2012-2018) - quando estabelece uma parceria com o CIM - Centro Informação Mulher, organização feminista do movimento de mulheres. Nesta pesquisa foram relatados desde o funcionamento do grupo à nomeação dos procedimentos que deram origem às criações de peças teatrais, peça-jogo, performance, desagravos, apartes, instalações e interpelações, indicando as etapas do processo, bem como apontando as práticas de repertório e arquivais, uma concepção de Diana Taylor (Estudos da Performance). O épico-performativo é um modo híbrido que orienta a produção das Mal-Amadas desde a sua origem. O intuito deste estudo, portanto, é confirmar a validade da Poética do Desmonte, teatralidade das Mal-Amadas na construção de um Teatro Feminista de viés libertário em defesa da vida das mulheres. / This work deals with the organization, analysis, and historicization of the Mal-Amadas memory through the scenic antipatriarchal experiments practiced during twenty-six years. This feminist theater group was created to respond with art to the suffering and pain of women in attendance at Casa Beth Lobo, a public policy to support women in situations of domestic violence. The study responds to a feminist and gender perspective with a special look at radical feminism and its presuppositions, starting from a reflection on the nature and origin of women\'s oppression. It was organized from an Introduction, Memory, \"Poetics of Desmonte I\" (from 1992 to 1999), which relates to the institutional relationship with the City Hall of Diadema and \"Poética do Desmonte II\" (from 2012 to 2018), when it establishes a partnership with the CIM - Women Information Center, a feminist organization of the women\'s movement. In this study, it was reported from the group \'s operation to the naming of the procedures that gave origin to the creations of theatrical pieces, play - game, performance, reparations,dramatic speeches, installations and interpellations, indicating the stages of the process, as well as pointing out the \"repertoire practices and archival\", a conception of Diana Taylor (Performance Studies). The epic - performative is a hybrid mode, which guides the production of \"mal-amadas\" from its origin. The purpose of this study, therefore, is to contextualize, justify, to confirm the validity of the Poetics of Dismantling, the theatricality of the \"mal -amadas\' in the construction of a Feminist libertarian theater in defense of women\'s lives.

This diploma thesis is focused on engaged art in the Prague public space after 2000. The theoretical part deals with the characteristics of engaged art and artivism and places them in the context of civil society. It describes the participants dealing with engaged art in Prague after 2000, the topics of the participant's interventions and the tactics they use for their implementation. The empirical part offers, based on biographical research and ethnography, an perspective of the participants. It describes their motivations leading to the creation of interventions, their relationship to public space and to the audience. Work deals with the goals of their activities and focuses on their own concept of success. Last but not least, the thesis is focused on the political orientation of the participants. The thesis thus provides a comprehensive view of contemporary engaged art and pursues on its important role in our society.

The master thesis studies the value of light art installations as a tool to raise awareness, communicate messages,inspire people and create social engagement to take action and deal with important issues. Additionally, it researchesthe lighting characteristics that have to be considered in order to create a high emotional response. Three case studieson light art installations tackling environmental issues were selected to understand the tools that makes themsuccessful. The final result of the thesis is the design proposal for a site specific light art installation to raise awarenesson droughts and its effects - following the CLUE competition 2019 guidelines - and create social engagement to fightthis major crisis. Specifically, the installation uses daylight in combination with shadows and reflections, in order toachieve the purpose of the installation. In the interest of creating a strong emotional response from the visitors,brightness, color, dynamics, contrast and direction of the perceived light were used to change the visitor’s perception ofthe space. The thesis concludes with the discussion of the evaluation of the installation to prove how effective thedesign is to achieve its purpose on raising awareness on droughts and the presence of the 7 light characteristics inorder to create an emotional response from the visitors.

abstract: ABSTRACT As a response to the banning of Ethnic Studies in the Tucson Unified School district and other oppressing forces within the movement the students fighting HB 2281 created a Sacred Xicana Space. In this thesis I will examine the role that protest art has in the fight against HB2281. I will also analyze its role in cultural expression, identity and representation. The research question guiding this research is What role does protest art have in social justice? Specifically I will analyze the cultural production of protest art against HB 2281, the ethnic studies ban in Tucson Arizona, and its role in cultural expression, identity and representation. / Dissertation/Thesis / M.A. Social Justice and Human Rights 2014

La siguiente investigación tiene como objetivo estudiar la función del cartel digital como medio de artivismo en la lucha feminista peruana del 2016 al 2020. En consecuencia, la hipótesis sostiene que el cartel digital feminista tiene la responsabilidad social de informar y denunciar a través del diseño artivista que utiliza ciertos códigos y características como ilustración, color, tipografía, entre otros elementos gráficos representativos del movimiento.   La investigación se centró en el estudio cualitativo de catorce carteles oficiales escogidos en asambleas por colectivos feministas peruanos, utilizados en tres fechas representativas del movimiento feminista que se reiteran cada año; el 8 de marzo, día Internacional de la Mujer, en el mes de agosto la marcha Ni Una Menos y el 25 de noviembre, día Internacional de la Eliminación de la Violencia Contra la Mujer. Asimismo, los resultados obtenidos en el análisis visual fueron complementados con la realización de entrevistas a especialistas, y un cuestionario dirigido a mujeres segmentadas por ser el público objetivo de los colectivos feministas. Entre los principales resultados podemos encontrar que la representación de la mujer cumple un rol de suma importancia en el cartel, con el objetivo de conectar con las mujeres peruanas, además, existe una búsqueda consciente de representación sin importar la edad, etnia o sexualidad. También se logró evidenciar que el mensaje en los carteles tiene relación con el contexto político peruano que acontecen cerca de las fechas de las manifestaciones. Por último, se logró concluir que la función del cartel digital feminista no solo cumple con la responsabilidad social de informar y denunciar injusticias, sino también crear códigos visuales que consolidan y crean una identidad para el movimiento. / The following research aims to study the function of the digital poster as a means of artivism in the Peruvian feminist struggle from 2016 to 2020. Consequently, the hypothesis maintains that the feminist digital poster has the social responsibility to inform and denounce through artivist design that uses certain codes and characteristics such as illustration, color, typography, among other graphic elements representative of the movement. The research focused on the qualitative study of the category of official posters chosen in assemblies by Peruvian feminist collectives, used on three representative dates of the feminist movement that are repeated each year; on March 8, International Women's Day, in August the Ni Una Menos march and on November 25, International Day for the Elimination of Violence Against Women. Likewise, the results obtained in the visual analysis were complemented by conducting interviews with specialists, and a questionnaire directed at women who were segmented because they were the target audience of feminist groups. Among the main results we can find that the representation of women plays a very important role in the poster, with the aim of connecting with Peruvian women, in addition, there is a conscious search for representation regardless of age, ethnicity or sexuality. It was also possible to show that the message on the posters is related to the Peruvian political context that takes place near the dates of the demonstrations. Finally, it was concluded that the function of the feminist digital poster not only fulfills the social responsibility of informing and denouncing injustices, but also creating visual codes that consolidate and create an identity for the movement. / Trabajo de investigación

No description available.

This Thesis explores artistic activism or artivism in the context of youth in post- revolution Tunisia. During and after the Arab Uprisings, the MENA region has experienced a tendency, wherein resistance is undertaken by artivists through in situ art interventions, music, and performances that create ‘new cultural spaces’, in which cultural hybridism through the mix of urban youth subculture, communication and traditional culture, creates new contexts of authenticity. It further investigates how art and activism is used in Tunis as a tool to mirror, provoke or communicate messages that directly or indirectly deal with post-revolution themes, and which mechanisms exist in limitations of artistic freedom of expression.It utilizes concepts of cultural resistance through theorists Stephen Duncombe and discusses the concept artivism as a hybrid term, through Aldo Milohnic. It then delineates subculture, authenticity and hybridization through various theorists and examines Artistic Freedom of Expression through the standpoint of international conventions and reports. The Thesis also analyzes artistic activism, commodification and globalization through a re-contextualization of Theodor Adorno and Walter Benjamin.Guiding this analysis are interrelated points of redefining Arab youth subcultures, through interviews conducted with five young Tunisian artists who combine artistic expression with political commentary and activism. I argue that a new dynamic discourse is shaped in the MENA region through the re-mixing of a cultural narrative which becomes re-contextualized locally, and therefore becomes authentic in a ‘glocal’ context. The Thesis offers analytical contribution to the field of cultural production in a Tunisian political context and adds to the research field of artistic activism.

Submitted by LUCAS FARINELLA PRETTI (lucaspretti@gmail.com) on 2017-08-21T12:34:05Z No. of bitstreams: 1 PRETTI-Lucas_Poeticas-do-comum_dissertacao_2017.pdf: 113580276 bytes, checksum: 24deea22c23370d4dbbc6c002a47181f (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-08-23T14:35:35Z (GMT) No. of bitstreams: 1 pretti_lf_me_ia.pdf: 113580276 bytes, checksum: 24deea22c23370d4dbbc6c002a47181f (MD5) / Made available in DSpace on 2017-08-23T14:35:35Z (GMT). No. of bitstreams: 1 pretti_lf_me_ia.pdf: 113580276 bytes, checksum: 24deea22c23370d4dbbc6c002a47181f (MD5) Previous issue date: 2017-06-29 / Este trabalho analisa o conceito de commons digital, originado no campo da cibercultura, no contexto de ações artísticas produzidas nos últimos anos na cidade de São Paulo. Valendome principalmente das teorias de Antonio Negri, Nicolas Bourriaud, Guy Debord e Gilles Lipovetsky, parto da retomada do “comum” como valor intrínseco à sociedade informacional, sigo com sua análise nos campos da arte pública e artemídia para, enfim, classificar cinco aspectos das poéticas do comum (p. 118), a partir de três modelos de casos: BaixoCentro (2012), Pimp My Carroça (2012) e Piscina no Minhocão (2014). Por fim, apresento os primeiros resultados da ação Terrenos Apaixonantemente Objetivos, que aplica a ideia do comum à deriva situacionista, e detalho a concepção e desenvolvimento do Derivoscópio, obra integrante da ação, um aparato vestível construído com hardware e software livres. / This work analyzes the concept of digital commons, originated in the field of cyberculture, in the context of artistic actions produced in the last years in the city of Sao Paulo, Brazil. Based primarily on the theories by Antonio Negri, Nicolas Bourriaud, Guy Debord and Gilles Lipovetsky, I start from the resumption of the “common” as an intrinsic value to the Information Society to proceed with its analysis in the fields of Public Art and New Media Art. Then, I classify five aspects of the poetics of the common (p. 118), based on three case models: BaixoCentro (2012), Pimp My Carroça (2012) and Piscina no Minhocão (2014). Lastly, I present the first results of the artwork Objective Passional Terrains, which applies the concept of the common to the situationist drift, detailing the design and development of the Driftscope, a wearable apparatus built with free hardware and software, as part of that artwork.