Notas sobre o deserto: extensão e transbordamento como articuladores espaço-temporais é uma refl exão que trata de uma pesquisa em poéticas visuais, investigando principalmente alguns trabalhos realizados a partir de 2011, nas linguagens de vídeo, performance, objeto, fotografi a e instalação. Esta tese articula-se a partir da percepção de um contexto que se coloca diante das escolhas plásticas, em aspectos recorrentes que ressignifi cam o corpo e a casa, principalmente a partir do que é estabelecido como limite ou apropriado. Três autores são fundamentais para este trabalho, criando situações de diálogo e espelhamento. Vitor Ramil e a percepção de uma paisagem que permite a experiência do vazio, bem como aspectos de impregnação revelados quase sempre por uma atmosfera úmida, onde os contornos podem ser desfeitos. Samuel Beckett e um sujeito que se apresenta também enquanto coisa, aguçando a compreensão de aspectos estruturais do corpo, suas atividades ou imobilidades. E ainda, Nuno Ramos, em sua abundância plástica, redefi nindo o tempo todo a materialidade do mundo a partir de sua produção literária e visual. O texto foi escrito e organizado tendo como base os próprios trabalhos, que defi niram em seu número a quantidade de Notas (textos curtos ao invés de capítulos) a serem discutidas. Estes pensadores aparecem nas Notas brevemente e entrecortando-as enquanto Recuos, como textos um pouco maiores, que amparam a refl exão aqui construída. As Notas e os Recuos foram propostos como textos articuláveis que, apesar da ordenação indicada pelo sumário, podem ser remanejados em sua individualidade. / Notes on the desert: extension and overfl ow as spatiotemporal articulators is a refl ection upon a visual poetics research, mainly investigating some works done starting on 2011, concerning the video, performance, object, photography and installation languages. This thesis is structured from the perception of a context that is placed on the plastic choices, on recurring aspects that resignify the body and the house, mainly over what’s stablished as a limit or appropriate. Three authors are critic to this work, creating dialog and mirroring situations. Vitor Ramil and the perception of a ladscape that allows the experience of emptiness, as well as aspects of impregnation revealed almost always from a moist atmosphere, where the contours can be undone. Samuel Beckett and a man who presents himself also as a thing, sharpening the understanding of structural aspects of the body, its activities or imobilities. And yet, Nuno Ramos, in its plastic abundancy, resetting the whole time the materiality of the world from his literary and visual production. The text was written and organized based on the works that defi ned the amount of Notes (short texts instead of chapters) to be discussed. These thinkers appear in Notes briefl y and also intersected as Setbacks, slightly larger texts which give support to the refl ection built here. The Notes and Setbacks have been proposed as articulated texts that, despite its indicated order in the summary, can be relocated in their individuality.

This thesis analyses the concept of self with respect to Nietzsche&rsquo / s (1844- 1900) implications on the &ldquo / despisers of the body&rdquo / in Thus Spoke Zarathustra. Nietzsche&rsquo / s exposition of the self as a varying multiplicity neither within nor out of the body is the basic assumption of this dissertation. In this sense, the place of Nietzschean self considering the evolution of the concept of self through history will be analyzed. The concept of ego (subject) will be discussed as Nietzsche&rsquo / s critique of the so-called manifestation of self / the concept of body will be discussed as the embodiment of Nietzschean understanding of the self.

Notas sobre o deserto: extensão e transbordamento como articuladores espaço-temporais é uma refl exão que trata de uma pesquisa em poéticas visuais, investigando principalmente alguns trabalhos realizados a partir de 2011, nas linguagens de vídeo, performance, objeto, fotografi a e instalação. Esta tese articula-se a partir da percepção de um contexto que se coloca diante das escolhas plásticas, em aspectos recorrentes que ressignifi cam o corpo e a casa, principalmente a partir do que é estabelecido como limite ou apropriado. Três autores são fundamentais para este trabalho, criando situações de diálogo e espelhamento. Vitor Ramil e a percepção de uma paisagem que permite a experiência do vazio, bem como aspectos de impregnação revelados quase sempre por uma atmosfera úmida, onde os contornos podem ser desfeitos. Samuel Beckett e um sujeito que se apresenta também enquanto coisa, aguçando a compreensão de aspectos estruturais do corpo, suas atividades ou imobilidades. E ainda, Nuno Ramos, em sua abundância plástica, redefi nindo o tempo todo a materialidade do mundo a partir de sua produção literária e visual. O texto foi escrito e organizado tendo como base os próprios trabalhos, que defi niram em seu número a quantidade de Notas (textos curtos ao invés de capítulos) a serem discutidas. Estes pensadores aparecem nas Notas brevemente e entrecortando-as enquanto Recuos, como textos um pouco maiores, que amparam a refl exão aqui construída. As Notas e os Recuos foram propostos como textos articuláveis que, apesar da ordenação indicada pelo sumário, podem ser remanejados em sua individualidade. / Notes on the desert: extension and overfl ow as spatiotemporal articulators is a refl ection upon a visual poetics research, mainly investigating some works done starting on 2011, concerning the video, performance, object, photography and installation languages. This thesis is structured from the perception of a context that is placed on the plastic choices, on recurring aspects that resignify the body and the house, mainly over what’s stablished as a limit or appropriate. Three authors are critic to this work, creating dialog and mirroring situations. Vitor Ramil and the perception of a ladscape that allows the experience of emptiness, as well as aspects of impregnation revealed almost always from a moist atmosphere, where the contours can be undone. Samuel Beckett and a man who presents himself also as a thing, sharpening the understanding of structural aspects of the body, its activities or imobilities. And yet, Nuno Ramos, in its plastic abundancy, resetting the whole time the materiality of the world from his literary and visual production. The text was written and organized based on the works that defi ned the amount of Notes (short texts instead of chapters) to be discussed. These thinkers appear in Notes briefl y and also intersected as Setbacks, slightly larger texts which give support to the refl ection built here. The Notes and Setbacks have been proposed as articulated texts that, despite its indicated order in the summary, can be relocated in their individuality.

Notas sobre o deserto: extensão e transbordamento como articuladores espaço-temporais é uma refl exão que trata de uma pesquisa em poéticas visuais, investigando principalmente alguns trabalhos realizados a partir de 2011, nas linguagens de vídeo, performance, objeto, fotografi a e instalação. Esta tese articula-se a partir da percepção de um contexto que se coloca diante das escolhas plásticas, em aspectos recorrentes que ressignifi cam o corpo e a casa, principalmente a partir do que é estabelecido como limite ou apropriado. Três autores são fundamentais para este trabalho, criando situações de diálogo e espelhamento. Vitor Ramil e a percepção de uma paisagem que permite a experiência do vazio, bem como aspectos de impregnação revelados quase sempre por uma atmosfera úmida, onde os contornos podem ser desfeitos. Samuel Beckett e um sujeito que se apresenta também enquanto coisa, aguçando a compreensão de aspectos estruturais do corpo, suas atividades ou imobilidades. E ainda, Nuno Ramos, em sua abundância plástica, redefi nindo o tempo todo a materialidade do mundo a partir de sua produção literária e visual. O texto foi escrito e organizado tendo como base os próprios trabalhos, que defi niram em seu número a quantidade de Notas (textos curtos ao invés de capítulos) a serem discutidas. Estes pensadores aparecem nas Notas brevemente e entrecortando-as enquanto Recuos, como textos um pouco maiores, que amparam a refl exão aqui construída. As Notas e os Recuos foram propostos como textos articuláveis que, apesar da ordenação indicada pelo sumário, podem ser remanejados em sua individualidade. / Notes on the desert: extension and overfl ow as spatiotemporal articulators is a refl ection upon a visual poetics research, mainly investigating some works done starting on 2011, concerning the video, performance, object, photography and installation languages. This thesis is structured from the perception of a context that is placed on the plastic choices, on recurring aspects that resignify the body and the house, mainly over what’s stablished as a limit or appropriate. Three authors are critic to this work, creating dialog and mirroring situations. Vitor Ramil and the perception of a ladscape that allows the experience of emptiness, as well as aspects of impregnation revealed almost always from a moist atmosphere, where the contours can be undone. Samuel Beckett and a man who presents himself also as a thing, sharpening the understanding of structural aspects of the body, its activities or imobilities. And yet, Nuno Ramos, in its plastic abundancy, resetting the whole time the materiality of the world from his literary and visual production. The text was written and organized based on the works that defi ned the amount of Notes (short texts instead of chapters) to be discussed. These thinkers appear in Notes briefl y and also intersected as Setbacks, slightly larger texts which give support to the refl ection built here. The Notes and Setbacks have been proposed as articulated texts that, despite its indicated order in the summary, can be relocated in their individuality.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-10-20T10:58:58Z No. of bitstreams: 1 gisellemoraesmoreira.pdf: 362491 bytes, checksum: ec4a38a43659e283839dee45bcf6f082 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-10-25T12:25:19Z (GMT) No. of bitstreams: 1 gisellemoraesmoreira.pdf: 362491 bytes, checksum: ec4a38a43659e283839dee45bcf6f082 (MD5) / Made available in DSpace on 2016-10-25T12:25:19Z (GMT). No. of bitstreams: 1 gisellemoraesmoreira.pdf: 362491 bytes, checksum: ec4a38a43659e283839dee45bcf6f082 (MD5) Previous issue date: 2008-09-04 / O presente estudo tem por escopo discutir as representações do corpo na sociedade contemporânea. Para tanto, apresentamos duas grandes vertentes teóricas acerca do tema. Um primeiro grupo de discussões associa o corpo à idéia de objeto, como que construído e modelado pela cultura. Um segundo grupo de discussões apresenta-o como sujeito, identidade. No estudo das representações sociais serão apresentados resultados de pesquisa qualitativa, realizada com a conjunção de entrevistas, discussão em grupo e observação participante. As pesquisas empíricas foram realizadas com estudantes e professores universitários na cidade de Juiz de Fora, MG, e as observações feitas em duas academias de ginástica também em Juiz de Fora. Acreditamos que estudar o corpo é revelar muito da face, dos paradoxos e inquietações do nosso atual contexto social. / The present study has in its scope the discussion on the representations of the body in the current society. To that end, we present two major theoretical aspects on the subject. A first discussion group links the body to the idea of object, as it was build and shaped by the culture. A second discussion group presents it as the subject, identity. In the social representation study it will be presented the results of the qualitative research, conducted with the combination of interviews, group discussion and participant observation. The empiric researches were conducted with university students and teachers in Juiz de Fora, MG, and remarks made in two gym academies in Juiz de Fora as well. We believe that studying the body is revealing much of the face, the paradoxes and worries of our current social context.

This study explores the problem of how we perceive built space and relate to its abstract representations. In 1897, Poincaré presented the problem of space for the 20th century in his essay ‘The Relativity of Space’, in which the human body and technics in our spatial experiences were already implied. Merleau-Ponty and Don Ihde's work is based on the phenomenology of Edmund Husserl and has been influenced to different degrees by Martin Heidegger. The study is presented as a comparative historical-thematic textual study. For Merleau-Ponty, our primordial perception is general, pre-self-conscious and ambiguous. It is only in reflecting on our lived experiences that we can adequately describe our perceptions. One's own body is the means of having a world that is already intersubjective. Merleau-Ponty explicates the fusion of body and soul, as well as our irreducible relation to the world by referring to studies of behavioural pathologies. From these studies the motility and spatiality of one's body, as well as habit acquisition are already informative on general spatial experiences, the syntheses of our perceptions and the unity of the world. The body-subject is the nexus of all levels of perceptions. Merleau-Ponty describes the constitution of embodiment relations (by means of habit acquisition) with artefacts that mediate our interaction and perceptions in the world. Ihde extends this aspect of Merleau-Ponty's phenomenology. Building on Merleau-Ponty's explications of the body, Ihde poses a structure of human-technology relations with different variations: embodiment, hermeneutic, alterity, background and horizonal relations that transform our perceptions of the world and ourselves. Ihde's 'body one' and 'body two' are based on the notion that perception is meaningful and culturally informed. Ihde (after Husserl), shows that geometry and Euclidean space are instances of cultural habitus as an abstraction from the lifeworld. The different human-technology relations are present in our lifeworld-experiences of which built space is constantly part in the background or foreground of our projects and actions. By comparing both philosophers' work in a phenomenological explication of built space, new light is thrown on our experiences and perceptions thereof which have implications on architectural education. / Dissertation (MA)--University of Pretoria, 2011. / Philosophy / unrestricted

Recent research in both geography and in neighbouring disciplines argues that we need to pay more attention to the cultural and symbolic significance of home in order to understand domestic energy consumption. In this thesis I consider how ideals of home are renegotiated in times of increase energy prices. By focusing on the experiences of the body-subject I describe how ideals of home and the flow of energy interact in people’s everyday homemaking practices. I build my analysis from a combination of semi-structured interviews, walk-alongs and photo-elicited interviews with people living in detached houses in Sweden. Although often producing feelings of stress, rising energy price also allowed the participants to ascribe their home new meaning and to feel a sense of connection to others. Often the participants express feelings of being part of a shared societal effort. By finding a new less energy intensive routine the participants interact with their home in new ways and ascribes their home new meanings. These new routines become a way to creatively engage with and reflect on long entrenched embodied ideals of home.

本論文所要論述的中心觀點是「我」與「非我」（本論文所設定的對象是他人）之間的關係為何？傳統哲學在這個問題的處理上往往受到知識論的影響而陷入一種兩難的情境：一是單薄的類比論証之困擾；二是獨我論的危機。然而本論文所強調的「身體主體的互為主體性」之涵意正是對應著這種知識論上的兩難而來，主張兩者之間彼此蘊涵的存在關係。因此，就這個意義上來說，「身體主體的互為主體性」可以突破傳統哲學的困難，把我和他人的關係引領到另一個嶄新的境界中。因此本論文正是追問這個「身體主體的互為主體性」究竟是如何可能的？再者，我們也不能忘記梅洛龐蒂也是一位現象學家，而他對胡賽爾著作的詮釋方式更是一個引人爭議的地方，因此當我們在討論「身體主體的互為主體性」意涵是如何可能的時候自然也不能脫離整個現象學的背景。這也就是說，當我們在處理「身體主體的互為主體性」是如何可能的同時，也就等於在處理梅洛龐蒂是如何詮釋胡賽爾互為主體性現象學的問題。這兩個議題在本論文中是並行不悖的。因此，我們現在可以進一步確認本論文的立論方向乃是以他人問題作為切點來討論「知識論的存在基礎為何？」而我們所討論的方式是，梅洛龐蒂「身體主體的互為主體性」乃是來自於胡賽爾互為主體性概念的啟發，這個現象學背景所呈現出的人文情境是本論文所要表達的基調。但是梅洛龐蒂並不贊成胡賽爾的認識論態度，亦即，我與他人之間的關係並非經由一種純粹的意識操作能夠獲致，事實上，它們是一種存在的關係--人就是在世存有。而後者梅洛龐蒂則用身體主體(Body-Subject)或是肉身(Flesh)來表示。但這並不意味著梅洛龐蒂完全放棄意識而轉向與之對立的身體，而是意識乃是「身體的意識」，意識其實是身體對自身的回顧與觀照，當意識觀照自我時，就是在觀照身體，觀照世界，觀照他人，反之亦然。因此藉由身體與意識之間的存在纏繞，使得主體的互為主體性意涵得以獲得深刻的存在關連。

<p>This work attempts an answer to two questions. Firstly, is it possible to experience meaning when everything is transient? And secondly, in what way is objectivity possible when it comes to such phenomena as existential meaning? The questions originate from our insideperspective, and it is from what we have experienced ourselves that we try to make intelligible existential meaning. We are to a great extent part of the context in which we live. Our ability to contemplate our situation and our own contemplation is taking place in interplay with others. To make room for the small things meaningful in life, the expression existential meaning is used. In this expression both the meaningless and the meaningful are included, since both are needed for our understanding of meaning. Without the Other and that which is different, the individual person’s formation of existential meaning becomes just more of the same, it becomes an enclosure in the present. The encounter with the Other makes room for that which is different to break through.</p><p>Objectivity is possible when it comes to existential meaning, if one views objectivity as a process between people. It is performed in conversation. Those who converse, refer to their bodily experiences of the Time that remains and help each other, using language as the tool, to formulate their experiences. They compare each others’ manifestations of existential meaning,</p><p>and with the help of language they go further in the formation of what is meaningless and meaningful. Their conversations imply a normative presupposition that they can justify the claims that they make. Because it is actually not possible to make intelligible existential meaning in words other than by doing it as a mix of descriptions of that which is manifesting itself and linguistic rewritings in the form of stories. This expression of objectivity has a normative aspect, namely in relation to the possibility that we can be wrong. Therefore, we need each other in the act of judging, and together we are guided by the fact that it later on can emerge things that show that our judgment has not been fully correct. </p>

This work attempts an answer to two questions. Firstly, is it possible to experience meaning when everything is transient? And secondly, in what way is objectivity possible when it comes to such phenomena as existential meaning? The questions originate from our insideperspective, and it is from what we have experienced ourselves that we try to make intelligible existential meaning. We are to a great extent part of the context in which we live. Our ability to contemplate our situation and our own contemplation is taking place in interplay with others. To make room for the small things meaningful in life, the expression existential meaning is used. In this expression both the meaningless and the meaningful are included, since both are needed for our understanding of meaning. Without the Other and that which is different, the individual person’s formation of existential meaning becomes just more of the same, it becomes an enclosure in the present. The encounter with the Other makes room for that which is different to break through. Objectivity is possible when it comes to existential meaning, if one views objectivity as a process between people. It is performed in conversation. Those who converse, refer to their bodily experiences of the Time that remains and help each other, using language as the tool, to formulate their experiences. They compare each others’ manifestations of existential meaning, and with the help of language they go further in the formation of what is meaningless and meaningful. Their conversations imply a normative presupposition that they can justify the claims that they make. Because it is actually not possible to make intelligible existential meaning in words other than by doing it as a mix of descriptions of that which is manifesting itself and linguistic rewritings in the form of stories. This expression of objectivity has a normative aspect, namely in relation to the possibility that we can be wrong. Therefore, we need each other in the act of judging, and together we are guided by the fact that it later on can emerge things that show that our judgment has not been fully correct.